Piano Libraries, we have loves, favourites, unloved, but which one is your go to piano library?
- Thread starter Andy Davidson
- Start date
so nice, great music! if I can give you a tip, you should find a way to make it louder, we have the tendency to like things when they are loud enough, but in your tunes I had to adjust the vol, which tricks our brain into thinking that the song is good but not amazing, when in fact the tune itself is really amazing.
VSriHarsha
Senior Member
doctoremmet
Senior Member
Craig is a professional piano player and producer. Each track may ask for a specific sound or character, and each of his customers will have their own requirements, demands, wishes and taste. He can cater to those by offering them different choices. So it’s pretty clear that he would have a decent palette of choices. It’s like a professional recording studio having ten guitar amplifiers around, because some clients prefer a VOX AC30 and others swear by a Twin Reverb. It’s why guitar players own and maintain various models of Strats, etcetera.
VSriHarsha
Senior Member
Yea I see guitar players do. But when it comes to Piano, I mostly think not many types yes I am addressing the Acoustic pieces but when it comes to the VIs, yea there are many but overall they possess the generic sound that a piano has to offer but yea there’s jazz, classical, rock and roll & pop yes & yea you can tell the difference like there’s from what you hear in a Natasha Bedingfield’s & Argerich’s but often I doubt how long, rather how fair a particular sample can justify the requirements of a particular project. I knew Hans got this old acoustic broken piano? for few cues in Man of Steel & that suited so well but these things, I guess, are more simplified when it comes to the sample libraries. You’re right but there are many free ones as well like few from Spitfire’s Pianobook? And sometimes, don’t you get confused with what you hear, when you have those many?
doctoremmet
Senior Member
Exactly, the reason Pianobook exists is because there are so many nuances and differences, sometimes subtle - often pretty recognizable or even drastic - in tone, playability, response. People like to record that, sample it, in order to be able to share their experience with others. That’s why Pianobook is fun and a success.
Of course, I’d lie if I were to say to you I could distinguish between any and all pianos I own and use - either in context or exposed - but I do hear the differences. And sometimes I need the staccatissimo of the 8dio Yamaha C5 and at other times I feel I prefer the much softer tones of the Westwood Alt piano with some textures blended in. It’s like Simeon often says in his reviews or rather play-throughs... each piano has a distinct character and invokes different emotions and hence different playing.
And there is definitely a total irrational hoarding thing going on as well. You’re absolutely right about that
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NekujaK
I didn't go to film school, I went to films -QT
I have the old original Miroslav Gold, so I don't know if the pianos have been updated in IK's more recent Miroslav Philharmonik 2 package.
In Miroslav Gold, there are two pianos, a Steinway Concert Grand and simply a Grand Piano. I misspoke in my original post, it's not the Concert Grand that I prefer, but actually the Grand Piano, although both are very playable. These are simple and primitive instruments: 1 velocity layer and no release samples. The Grand Piano is split into two patches: Forte and MF. So between them, I suppose there are 2 velocity layers, but each patch still responds to velocity expressively.
Like I mentioned in my original post, I only use this piano for composing because I like the feel of how it plays and the consistent tone. For recording, I rely on other pianos, as mentioned in my post.
Hendrixon
Senior New
Soniccuture's The Hammersmith is my fav.
Its so rich harmonically, full of resonances and with 21 dynamic layers it has a smooth dynamic range.
It was recorded with top of the line mics, on a Neve console, in a top quality studio (Mark Knofler's), by an engineer that recorded and produced Rush, Supertramp, America, Paul McCartney, Frank Zappa, Jeff Beck to name some.
Btw, I learned all that only AFTER I concluded I liked the piano that much
It was also recorded with a Neumann KU 100 dummy head binaural stereo microphone, an $8k+ mic in the player's position. I love this mic+position cause I like thinking its me playing lol
Also, it's a pretty dry piano, dry as in no 1.2sec tale woosh on all mics. it will work perfectly with any reverb (no room clash).
Of the deeply sampled I prefer it over Garritan CFX and Walker D.
Of the non deeply sampled pianos I like Vintage D, Signature, Granduer.
I don't like Noire, it has an auto filter on it that ruins it.
Its so rich harmonically, full of resonances and with 21 dynamic layers it has a smooth dynamic range.
It was recorded with top of the line mics, on a Neve console, in a top quality studio (Mark Knofler's), by an engineer that recorded and produced Rush, Supertramp, America, Paul McCartney, Frank Zappa, Jeff Beck to name some.
Btw, I learned all that only AFTER I concluded I liked the piano that much
It was also recorded with a Neumann KU 100 dummy head binaural stereo microphone, an $8k+ mic in the player's position. I love this mic+position cause I like thinking its me playing lol
Also, it's a pretty dry piano, dry as in no 1.2sec tale woosh on all mics. it will work perfectly with any reverb (no room clash).
Of the deeply sampled I prefer it over Garritan CFX and Walker D.
Of the non deeply sampled pianos I like Vintage D, Signature, Granduer.
I don't like Noire, it has an auto filter on it that ruins it.
Living Fossil
Senior Member
That's the big problem.
In my experience, PSP's pianoverb can help a lot; but it's some fiddling until you find the appropriate settings.
I use this as an insert – with only few wet and much more dry signal – before the 3D placement (usually precedence) and the reverbs.
There is also a free version (and it's really helpful too):
(broken link removed)
You should try this! At the point where you start hearing it, dial it back a bit.
Another thing that helps is saturation.
Although it's not "natural", it helps to get a more natural result, since the interaction of different notes brings out specific frequencies which on their part get enriched by the saturation.
So the "saturation" mimics in some way the resonances that are going on in the real thing.
(Another advantage of saturation: if you have e.g. two notes within the same velocity layer, the sample will in both cases have the same spectral content – opposed to the real thing. With saturation, the louder note gets more saturation, so the louder played sample has more additional spectral content.
Of course, what i described in regards to the saturation, is – mildly put – not exactly scientific.
But the results you can get (specially with multiband saturation) are really good.
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That's the big problem.
In my experience, PSP's pianoverb can help a lot; but it's some fiddling until you find the appropriate settings.
I use this as an insert – with only few wet and much more wet signal – before the 3D placement (usually precedence) and the reverbs.
There is also a free version (and it's really helpful too):
(broken link removed)
You should try this! At the point where you start hearing it, dial it back a bit.
Another thing that helps is saturation.
Although it's not "natural", it helps to get a more natural result, since the interaction of different notes brings out specific frequencies which on their part get enriched by the saturation.
So the "saturation" mimics in some way the resonances that are going on in the real thing.
(Another advantage of saturation: if you have e.g. two notes within the same velocity layer, the sample will in both cases have the same spectral content – opposed to the real thing. With saturation, the louder note gets more saturation, so the louder played sample has more additional spectral content.
Of course, what i described in regards to the saturation, is – mildly put – not exactly scientific.
But the results you can get (specially with multiband saturation) are really good.
without pedal, I like the comb between piano and 60' electric piano, I know it's not realistic, but it sounds more inspiring. Reverb it's ok with earphones, but if you use the speakers, the room is going to be your "reverb", your room is added to the vst (wich is not happening when using headphones).
Living Fossil
Senior Member
Fortunately in my studio, the room is not "my reverb", since it's treated.
However, i was writing about producing music not about playing around for fun.
NekujaK
I didn't go to film school, I went to films -QT
If MIDI is what you want, there's this. But I can't figure out where to download the files. I think you need to become a supporter on Patreon:
gh0stwrit3r.com
Fast Orchestral MIDI Runs
As a gift in March to my Patrons, 10 fast orchestral MIDI runs that you can use in any of your orchestral compositions. Thanks for your support! https://youtu.be/SJ5SZgVgh5U Don’t forget to hit that like button if
gh0stwrit3r.com
CGR
Pianist, Composer & Arranger
I'm a big fan of the Hammersmith Pro. The mic selection, signal path, sampling and scripting is top notch. Playability is excellent, and having proper sustain pedal down samples really does make a difference to the "3D-ness" of the piano sound. The clarity and depth of the bass in that sampled piano is fantastic, and the mid range sounds open and natural, unlike many sampled pianos which really struggle with this region and have a hollow sound an octave either side of middle C. If the treble was a bit more full & resonant I think it would be my equal first choice with the VSL Vienna Imperial. I'm really glad to have both as they suit different types of material.Soniccuture's The Hammersmith is my fav.
Its so rich harmonically, full of resonances and with 21 dynamic layers it has a smooth dynamic range.
It was recorded with top of the line mics, on a Neve console, in a top quality studio (Mark Knofler's), by an engineer that recorded and produced Rush, Supertramp, America, Paul McCartney, Frank Zappa, Jeff Beck to name some.
Btw, I learned all that only AFTER I concluded I liked the piano that much
It was also recorded with a Neumann KU 100 dummy head binaural stereo microphone, an $8k+ mic in the player's position. I love this mic+position cause I like thinking its me playing lol
Also, it's a pretty dry piano, dry as in no 1.2sec tale woosh on all mics. it will work perfectly with any reverb (no room clash).
Of the deeply sampled I prefer it over Garritan CFX and Walker D.
Of the non deeply sampled pianos I like Vintage D, Signature, Granduer.
I don't like Noire, it has an auto filter on it that ruins it.
CGR
Pianist, Composer & Arranger
What he said!
Noir always gets loaded first... Actually I get loaded first lol but noir is my first piano choice then cinepiano. They never let me down. Very playable and have a good sound that I have in my head when I think of piano. I tried Hammersmith, pearl, production voices Gold and almost every other piano on market including embertone walker none sounded great to me. I have garritan but haven't installed yet. I always forget I bought it.
Thundercat
Senior Member
Mmmm that's like saying all chocolate cake tastes the same. Sure, all pianos have a certain "sound" - they sound like a piano. But there are infinite variations in tone, playability, artistic inspiration, and sheer joy or lack thereof, when playing on them. And as an artist, I like different sounds available. They very much do not all sound the same to me.
I like all flavors.
Thundercat
Senior Member
My utter fav right now is Simple Sam Samples Steinway. Love!!
Close contenders:
Close contenders:
- Ravenscroft
- Piano in Blue
- Walker D
- CinePiano
- Garritan CFX full
