![]() ![]() ![]() ![]() The hammers feel like they’ve been nicely played in, with each note strike demonstrating clear attack and transients, and there’s none of the woolliness often associated with newer instruments. This isn’t the case here, as the mids are crisp in detail. Moving through the patches, there’s clearly an abundance of tonal contrast, and while there’s no felt piano option, the Mellow Dark patch is a close timbral match, and provides the kind of beautiful depth that a grand piano of this ilk simply can’t replicate.īösendorfer pianos are renowned for their presence in the lower register, while the mid-register can occasionally seem cloudy. Users can take the drier and closer signals and apply onboard effects as desired. While the latter C12 signal is clearly captured via an AKG C12, the other mic-level controls seem to rely on a blend of mics, with the cinematic control adding significant body to the piano’s timbral colour.Īll the basics are covered here – and then some. The initial Basic Dry patch sounds up close and personal but the accessible mic control allows you to tweak that, with three mic-level pots for close, cinematic and mono C12 control. With continued repetition of a single note, the velocity layering alone indicates the lengths to which UVI has gone to capture these samples, as the colours flow from each hammer strike. Upon playing the Austrian Grand, we’re immediately struck by the detailed depth of the sampling. While Falcon offers a wide range of programming options, the free Workstation also provides a clear and uncluttered view that’s highly appealing in its own right. In tune with all UVI libraries, the Austrian Grand and other such content loads into UVI’s free Workstation player or its flagship Falcon package. These are virtually represented in a concise and easy-to-use software instrument format, which invites the player to get on with the playing, while allowing for simplistic but effective tone control through mic levelling. Sample capture took place at Guillaume Tell studios in Paris, with a full complement of microphones. The big coup is the Austrian Grand, UVI’s sampled representation of a Bösendorfer grand piano. The Key Suite Bundle Edition consists of three existing Key Suite packages, Acoustic, Electric and Digital. In light of that, Paris-based UVI has taken up its tuning fork and provided a newly packaged bundle of piano colours, covering all the big acoustic and electric models, including a few you may not have heard of. Having production-ready piano samples to hand saves valuable time in the studio. Yeah when I first started using Spectrasonics they were using the UVI engine (not anymore) Who knows now that UVI is investing iOS perhaps Spectrasonics is looking at it as well?Īttack EP 88 would be great.We all need pianos, right? Does the pope use soft synth plug-ins in the woods? This semi-rhetorical question is clear cut but any self-respecting producer – the proverbial pope included – requires more than a single piano voice, with modern production projects benefitting from a host of different flavours. is focusing on Kontakt, UVI and a few others starting to port their engines to iOS. However, i have the feeling we see more of these tools.Īnd while N.I. UVI´s Attack EP 88 is another favorite from me and it has a lot of magic added. I especially felt in love with the Wing Tack Piano, it´s hard to describe but it has the most awesome tone i ever heard from a sampled key instrument. I even not use the giant 64GB (uncompressed) LA Custom C7 Piano because while it sounds great i´m a bit bored at "normal" piano sound these days. my favorite sampled instruments are the rare collector things from Keyscape (Spectrasonics). While iOS hasn´t really much great pianos and it´s fine to have a few different flavors i hope someone also release something with more character.į.e. Now i wish they consider the Attack EP 88.
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