That's a pity as I really miss using one onstage. Thanks for your reply that many choose to never answer. Note that the only sampler that can reproduce dynamic range correctly is Digidesign's Structure. Some information on this subject can be found at We addressed this in the BDMO - a real challenge because Kontact 2 and 3 does not have a proper dynamic range engine (should be linear decibel adjustable for each note). One area that has not been discussed is dynamic range and the problem that samplers have in reproducing it - that is a far bigger problem. These impulses total change the overall sound especially in the bass region of the piano all are easily discernible with even casual listening. In fact there were timbral impulses in the BDMO that were inspired by the Dave Grusin's piano sound in The Firm as well as several of the acoustic recording Alexander Paley (Bluthner), Artur Pizarro (Bluthner), and Mikael Pletnev (Steinway). We included three other areas for convolution that will clearly stand out in a mix - timbral, reverberation and sustain impulses. Respectfully I think that it is too subtle of an effect and it will easily be masked as soon as another instruments are mixed in. On this forum there has been much discussion of this feature. The set of impulses would change depending on what note is selected a very big job that would max out any 4, 8 or 16 core computer. The only way to do it is to have a different impulse for every piano note. The main reason is that there are many non-harmonic components are present that also change depending on what other pedal up notes are played. You cannot recycle any part of a piano's tone and have it sound like a realistic sostenuto. It is impossible to create an accurate sostenuto with any kind of scripting regardless of the Kontakt scripts that claim to add this feature. In many of the sampled piano libraries the right hand runs are often much more prominent than they should be when one references it to these acoustic recording. In the acoustic recordings the bass part theme is very strong in most of the interpretations even thought there are fast runs in the right hand they do not dominate the overall sound instead they sonically sit further back in the overall sound. Prominent piano attack in soft passages is a common problem heard in many sampled libraries one can clearly hear in real world piano recordings that this should not be the case if tonal accuracy is a goal. The attacks of the piano should also not be prominent instead they should blend in with the ringing or singing element of each piano note. The piano timbre should not should not have a thin, cool or nasal quality. In the acoustic recordings the overall tone heard is soft full or round tone with a prominent low end in other words it should have a tranquil or very calm tone. What to listen for in the pianissimo passages Fast switch between various recordings only confuses the ear and makes it very difficult to hear exactly what is going on in an individual recording when compared to another group of recordings. Sometimes it makes sense to listen to 2 or 3 acoustic recordings first before listening to a single sampled piano library - this helps in focusing the ear to subtle differences between the acoustic versus the sampled domains. Listen to each recording comparing individual sampled piano libraries with each other or comparing an individual acoustic recording with a particular piano library. Next consider use a sound editor - if you do not have one download Audacity (a freeware sound editor application that is available for either the Mac and PC). Then listen to the matching sampled piano library recording in its entirety. I also find the various interpretations of the pianists playing the same passages fascinating - timing is everything -įirst listen to either the pianissimo or forte acoustic recording in its entirety - this helps you build a sonic reference in your mind. To accurately hear the differences in each of these recordings one should listen on high quality headphones if you only have speakers then listen to the recording fairly loud so that you can hear the subtle tonal variations. These demos were mean to illustrate how close sonically a sampled piano library approaches the sonic qualities of real world acoustic recordings. The same passages were also played back on 6 digital piano sampled libraries The Bluthner Digital Model One, Garritan's Steinway, Quantum Leap Pianos, Ivory (Bosendorfer and German D), Pianoteq, and Galaxy (Bosendorfer & Steinway). 2 Op 3 as performed by 7 well know recording artists Alexander Paley, Artur Pizarro, Artur Rubenstein, Mikael Pletnev, Yundi Li, Jennifer Lim and Martin Kasik. This is a comparison of two passages one pianissimo and one forte from Chopin's Scherzi in Bb Minor No.
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