A European company's solo instruments blur the boundaries between virtual and real. Most of Sample Modeling's solo instruments run on Kontakt 4 and up, and a free Kontakt player is included with each library. The user interface contains multiple pages showing the MIDI CC-controlled performance parameters. Virtual instruments' have been with us since 1993, and the phrase is now applied routinely (and rather indiscriminately) to sample collections as well as individual software instruments.

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While samples can produce amazingly realistic results, they have marked limitations, succinctly described by Giorgio Tommasini and Peter Siedlaczek of European company Sample Modeling thus: 'Samplers, while preserving the basic timbre of the real instrument, result in a static sound, which cannot properly morph across dynamics, vibrato, portamento, and so on. This is particularly true for solo instruments. Synthesizers allow for greater expressiveness, but at the expense of the realism of sound.” To tackle this issue, Tommasini and his colleagues developed proprietary techniques for replicating authentic instrumental timbre in real time. This led to a commercial partnership with orchestral sampling maestro Siedlaczek, and the subsequent release of a virtual instrument called 'The Trumpet' in 2008.

(You can read the review at — or I can sum it up for you in two words: stunningly realistic.) Since The Trumpet first sounded its clarion call, Sample Modeling have released a range of solo wind and brass instruments which aim to take the 'virtual' out of virtual reality. In this review, we'll cast an ear over them all. The trombone has always been a tough nut to crack for samplists, not merely because of its ability to glide smoothly between pitches, but because its tone varies so dramatically at different dynamics. On most sampled specimens, you'll hear obvious tonal 'stepping' between the instrument's soft, quiet notes and its brassy, loud deliveries, and that can make programming a haphazard business. Happily, Sample Modeling's The Trombone virtual instrument circumvents this problem completely.

As with The Trumpet, dynamics are controlled by MIDI CC11 expression. On receiving this data, the sound opens up into the familiar warm, easy-going tone of the noble instrument amusingly described as 'a slide whistle with delusions of grandeur'. Push the pedal down, and you hear a loud, super-bright tone with an authentically 'splatty' attack; pull it back and the timbre subsides into ripe mellowness, with a correspondingly soft, tender embouchure. The fact that you can morph seamlessly between these two extremes on a sustained note in real time without a trace of 'stepping' or glitching is a testament to Tommasini's game-changing 'Harmonic Alignment' technology. Vibrato of a truly lifelike variety may be added with the mod wheel; overdo it, and the vib turns into a leery big-band shake. Subtle portamento slides between overlapped notes occur naturally via the built-in legato and can extend with remarkable accuracy over large intervals.

However, the trombone's trademark, semi-comic glissando slide (which in real life spans up to six semitones) is limited to three semitones, in order not to overload the CPU. (The processing involved in creating a realistic, tonally accurate slide, as opposed to the bogus effect of merely changing the sample's playback speed, is apparently intense.) A gobsmacking variety of articulations can be instantly accessed by keyswitches: styles I particularly liked include a vibrato-on-release delivery (an elegant way of ending a note), velocity-controlled falls (the harder you hit the keyswitch, the faster the fall) and the iconic 'doit' (or 'upward fall') beloved of big-band jazz arrangers. In addition, there are excellent growl, flutter-tongue and wah effects and five kinds of mute, thereby covering trombone sound from the 1920s right up to the present day. Despite its emphatically single name, The Trombone also features a second, warmer-toned tenor trombone based on the same sample set, a valve trombone of similar tone (but no slides), and — a very welcome addition — a big, fat, fruity bass trombone with a four-octave range and an insanely low bottom note of Bb-1. Is the saxophone an intrinsically masculine instrument? Barbara Thompson, Candy Dulfer and, er, Lisa Simpson would say not, but Wikipedia's list of 432 saxophonists includes only nine female players.

Perhaps for this reason, Sample Modeling have christened their trio of solo saxophones (created by Stefano Lucato in collaboration with Messrs Tommasini and Siedlaczek) Mr Sax A, Mr Sax T and Mr Sax B. The abbreviations stand for alto, tenor and baritone, three instruments which, along with the trumpet and trombone, form the backbone of most jazz big-band arrangements. An immediately striking feature of the tenor sax is the liquid quality of its melody lines: streams of notes flow in an unbroken continuum, rather than the series of bumpy, disjointed attacks we used to have to put up with.