(I can’t, for example, think of a single one I find good enough to record solo piano music with.)Īnother thing I find very important is playability. Which explains why playing and working with virtual pianos - all of them - is more often than not an excercise in coping with frustration for me. After all, at this point in time, virtual pianos - even the alledged ‘best’ ones - are still only capable of convincingly simulating, say, 15% of what a well-maintained, well-recorded and well-played real instrument will bring to a recording. Exceptionally musically sampled and assembled, I find, this Galaxy instrument.)īut I don’t have any higher expectations than that, I must say. (And moreover, to my ears, the VintageD is also capable of expressing much more with its 13 velocity layers than many other sampled instruments which have two, three times the number of velocity layers, or even more, can. No matter what music I might be giving it.Īnd that’s also why the VintageD, in all its unexciting but rather nice-sounding neutrality, has always appealed to me so much: it doesn’t impose itself on the music, it doesn’t draw attention to itself, it stays out of the music’s way, it doesn’t add its own crippled voice to what the music is already saying. Unless I’m misreading you, you want your pianosound - and the way it sits in the mix - to be above all a stylistically fitting presence in the music you have in mind - perfectly valid viewpoint of course (which, when the music calls for it, I follow as well) - whereas I usually prefer my virtual pianos to be impersonal, unassuming but hopefully somewhat believable renderers of the abstract idea ‘piano’. I guess we each expect different things from a (virtual) piano, Ásta.
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