Native Instruments today introduced the BERLIN, NEW YORK and VIENNA CONCERT GRAND as well as UPRIGHT PIANO, four software instruments that offer detailed reproductions of some of the world’s most revered pianos.

Previously available within the acclaimed AKOUSTIK PIANO, these instruments can now be purchased individually to specifically accommodate a certain sound or musical genre, or as a bundle that offers the full range of piano tones.

BERLIN, NEW YORK, VIENNA CONCERT GRAND and UPRIGHT PIANO are available in the NI Online Shop at $79 / 69 € per individual instrument. A bundle of all four instruments is available for $189 / 169 €.

Details:

All four pianos are powered by the industry-leading KONTAKT engine, and are playable in the free KONTAKT PLAYER as well as the full KONTAKT sampler. The three concert grands and the upright piano recreate each nuance and detail of the original instruments by combining elaborate multi-sampling with sophisticated emulation of soundboard resonance and pedal behavior. Making full use of the advanced sampling and scripting features of the KONTAKT engine, they remain both efficient and convenient to use for a wide range of musical styles and applications.

Each of the original instruments was carefully set up and recorded using a special recording technique that completely minimized room ambience, resulting in pristine sound quality:

• The BERLIN CONCERT GRAND is based on a modern masterpiece of German piano construction, and carries the original’s vitality and expressiveness throughout the entire dynamic range.
• The NEW YORK CONCERT GRAND is the authentic rendition of the standard in concert halls worldwide, especially suited for jazz and classical solo material.
• The VIENNA CONCERT GRAND replicates an acclaimed Austrian piano design, with eight full octaves of powerful, orchestral sound.
• Complementing the three concert grands, UPRIGHT PIANO offers the warm and intimate tone of one of the world’s best concert pianos.

Modartt has released Pianoteq Pro – the advanced version of Pianoteq. Its major feature over Pianoteq is per note adjustment for physical parameters.

Features:

• Note per note adjustment for 22 physical parameters: detune, unison width, direct sound duration, hammer hardness piano, hammer hardness mezzo, hammer hardness forte, spectrum profile, hammer noise, strike point, pickup symmetry, pickup distance, impedance, cutoff, Q factor, string length, note resonance, quadratic effect, damper position, damper duration, damper noise, key release noise, volume. Restricted to detune and volume in the Standard version.
• Internal sample rate available up to 192 kHz. Restricted to 48 kHz in the Standard version.

Pianoteq Pro is available now for windows, Mac OS X and Linux for 399€.

Description:

For the first time in the history of pianos, complete control of physical parameters of the piano is made available to the user. In the real world, reshaping a soundboard would require several weeks of work in the factory. With Pianoteq Pro, you have a new soundboard only one mouse click away!

Pianoteq Pro offers note per note adjustment for no less than 22 physical parameters, such as tuning, unison width, hammer hardness, strike point, string length, spectrum profile, soundboard impedance, damper position… In fact there are thousands since each overtone of each note can be controlled separately with the spectrum profile parameter!

In 1977, Gabriel Weinreich concluded his grounding article “Coupled piano strings” with “In any case, one could expect to build a better piano if the aftersound could be more deliberately controlled through an appropriate understanding of the soundboard”. Thirty-two years later, Weinreich’s dream is becoming reality with Pianoteq Pro.

Seeburg Style H Orchestrion plays Barney Google

The largest and most ornate American built orchestrion, the J P Seeburg model H, performs in the shop of Reblitz Restorations as the staff readies the instrument for delivery.

Somebody needs to get ahold of one of these and “repurpose it” for modern music, don’t you think?

via ampicoab

Free Music Software: Mokafix has introduced Glue Reeds – a free virtual electric piano for Windows, based on a Pianet mechanism.

Glue Reeds uses reactive synthesis which emulates each part of the sound generating process.

Pickups response is carefully emulated, producing a very expressive instrument with great dynamics.

Feature list:

• Velocity curve control
• Physical parameters adjustments
• Seemless dynamic response
• Endless sustain decay
• Authentic EP sound thanks to Reactive Synthesis

GlueReeds is freeware. it is available as a VSTi for PC.

About the Pianet

Like the Wurlitzer, the Pianet used reeds, like the Rhodes it had individual pickups, and like no other instrument it used sticky foam pads to pull and release the reeds instead of a hammer to hit them.

Unique ingredients for a very special result :

• reeds for an uneven sound, with rich overtones.
• electro-magnetic pickups for a hot sound and no buzzing
• sticky hammers that gave it poor dynamic response and rather soft sound compared to its two barking big brothers.

via SonicState

Failed Muso has an interesting story about how sounds get sampled and shared, starting with a famous Korg M1 patch:

Remember that classic piano sound from 90’s house records? The ubiquitous Korg M1 Piano patch was the 90’s equivalent of the DX7’s EP patch or the Fairlight’s Orch5 stab.

A long time ago, a cohort on the KvR forum, a guy from Norwich by the name of Kriminal, sampled his M1 keyboard and made the piano patch available as a soundfont, I believe.

Being an avid Akai user, I asked him if I could convert to the Akai S5/6000 and Z Series formats, to which he agreed.

He goes on to explain how the samples ended up in EXS24 format, via Nick at SonicState.

Who knows where else the samples have landed…….

Download links at the Failed Muso site.

Image:The_WB

Luca Capozzi’s Modular Piano is an acoustic piano simulation created using traditional subtractive synthesis.

Details below.

via zioaxiom:

While programming my first library I ran into the need to have an acoustic piano sound. Since I don’t have a real piano to sample, I decided to synthesize it from scratch using “traditional” subtractive synthesis technique.

This is my first good result and has been achived only by using basic oscillators, filters and so on. The only downside is the limited polyphony due to heavy CPU usage, so I sampled almost every key and mapped them into a sampler in order to make this sound more usable.

Leave your appreciation on Behance Network.

Yeah, yeah – here’s that “talking piano” video that’s been bouncing around the Internet for a week.

I didn’t feature it here, because I thought Conlon Nancarrow was doing a lot more interesting things, and more musical things, with player piano sequencing back in the 1940s.

And, if you’re going to make a talking instrument, in my book – it’s either got to make music, or it’s got to say “Exterminate!”

But others are obviously seeing potential in this. Or that je ne sais quoi that makes an Internet meme.

Anyway, this video captures a”speaking piano” reciting the Proclamation of the European Environmental Criminal Court at World Venice Forum 2009.

Composer Peter Ablinger basically pixelated sound, at a resolution appropriate to the range of the piano, and used the pixelations as “notes” to sequence and reproduce a lo-fi version of the original sound.

UPDATE: Astera on hackaday wrote a rough translation:

Pretty amazing, how all of a sudden the words of the Declaration become understandable to a European Environmental Criminal Court. Wien Modern was one out of ten cultural institutions asked for an artistic contribution to the event in Palazzo Ducale in Venice. The ambitious goal was to make this message audible with musical means, without falling back to a simple setting.

Berno Polzer: I think, its partially understandable, partially not. And it plays well with the limits of our construction abilities. That is, we hear sounds that obviously arent normal Music, but neither they are language, and one could say that sometimes, a bridging happens. Personally, I think you can understand individual words even without knowing the text, and the Eureka moment happens when you see the text, and suddenly, the language is there.

Yet another bridge: Miro Markus, an elementary school student from Berlin, narrated the text for the performance: Youth as a hope for the older generation.

The Austrian composer Peter Ablinger transferred the frequency spectrum of the childs voice to his computer controlled mechanical piano.

Peter Ablinger: I break down this phonography, meaning a recording of something the voice, in this case -, in individual pixels, one can say. And if I have the possibility of a rendering in a fairly high resolution (and that I only get with a mechanical piano), then I in fact restore some kind of continuity. Therefore, with a little practice, or help or subtitling, we actually can hear a human voice in a piano sound.

This is the music video for Ethan Goldhammer’s funky In The Pocket.

This is another great example of how you can make a visually striking music video without a lot of money, if you’ve got a great idea and execute it well.

Original music by Ethan Goldhammer and S. Burke.

Time Lapse footage shot in August 2008 on Block Island, RI.
Stop motion and light paint September 2008 in Cambridge, MA.

via Peter Kirn

Der Erlkonig on Burns B3 Theremin, performed by Thomas Grillo.

via ThomasGrillo:

Enjoy a rendition of Schubert’s Der Erlkonig performed by thereminist Thomas Grillo on the Burns B3 Original theremin, with recorded audio accompaniment by pianist, Kristian Banatzianou.

Find the B3 theremin, and more at
http://www.soundslikeburns.com

Accompaniments available at
http://www.pianoaccompaniments.com

This demo showcases the new Korg SV-1 Stage Vintage Piano, which offers 36 vintage analog- and digital-style sounds.

The Korg SV-1 is designed for gigging musicians and is offered in 73-key and 88-key versions.

This is a demo of the Roland P-330 Digital Piano Module.

via zibbybone:

The Roland P-330 uses the same S/A technology as the famous RD-1000 & MKS-20.

It features 8 basic tones (3 acoustic pianos, harpsichord, clav, vibraphone and 2 electric pianos) along with chorus, tremelo and EQ to create unique timbres. It has 64 patch program memory to store custom tone and effects settings.

Since the P-330 does not have a built-in demo mode, I downloaded a MIDI file of Chopin’s Etude Op 10, No 4 and played it from my Roland X6’s sequencer while scrolling through the 64 factory preset patch programs.

We’ve finally got some official details from Korg on the new Korg SV-1 Stage Vintage Piano.

According to Korg:

The SV-1 offers the most complete compendium of hit-making vintage electric pianos, funky clavs, classic and cult-fave organs, string machines, analog/digital electronic contenders and world-class acoustic pianos ever available in a single instrument. Available in lightweight 73-key and 88-key models, the SV-1 features Korg’s premium RH3 Real Graded Hammer Action for a solid, expressive feel.

The SV-1 Stage Vintage Piano will be available early November 2009. The 73-key SV-173 will carry an MSRP of $2700.00; the 88-key SV-188 will carry an MSRP of $3000.00.

Description:

The SV-1 recreates the look, feel and satisfaction of performing on a vintage instrument. The SV-1 provides a streamlined front panel where each knob serves a single function and LED indicators cue the performer to each knob’s current setting. Pressing any knob recalls its original saved setting. Eight FAVORITES buttons operate much like car radio buttons, bringing needed sounds within fingertip access.

Crafted using Korg’s RX (Real eXperience) Technology, each of the 36 onboard sounds is a detailed and authentic re-creation (complete list below). The RX engine accurately captures the full range of expression and dynamics of the original instruments, including the snap of the tine, release of the hammer, click of the contacts and other definitive sonic elements.

The SV-1 also re-creates the effect pedals and studio processing that gave these sounds their original character. In addition, the proven, tube-driven (12AX7) Valve Reactor circuit combines with period-accurate amplifier modeling to deliver the warmth, bite and snarl that brings these sounds to life. Each of the tone modifying sections features its own dedicated On/Off switch and controls for easy editing.

The SV-1 can be transposed into any key, and the tuning can be adjusted to match another instrument or existing track. Eight velocity curves match the keyboard response to any playing style. Unlike the original instruments, the SV-1 is virtually maintenance-free and always in tune.

Korg’s free Editing Software provides an extra level of programming, with access to additional parameters for the technically savvy player. The software can also be used to organize sounds into gig-ready setlists, and for sharing and downloading new sounds that will be made available in the near future. Standard MIDI jacks (In, Out) as well as a USB MIDI connection are provided. An optional stand and rolling soft case are available.

The SV-1 features balanced XLR and _” outputs, eliminating the need for noisy or costly direct boxes. Convenient audio inputs are also provided, along with a front-mounted headphone jack.

A half-damping sustain pedal is included. Two aux pedal inputs can accommodate an additional switch pedal and an additional sweep pedal (to control the Wah effect and Rotary speed, for example). Both inputs can accept switch pedals, providing the Soft and Sostenuto pedals for the piano performer.

SOUNDS:

• Bank 1 – Electric Piano 1: Tine Electric Piano (x4); VPM Piano (X2)
• Bank 2 – Electric Piano 2: Reed Electric Piano (x2);Electro-Acoustic Grand; Korg SG-1D;
• 1980’s Synth Piano; MIDI Grand
• Bank 3 – Clav: Clav (x4); Plucked Reed Piano-ette; Transistor Piano
• Bank 4 – Piano: Bright Japanese Grand; Smooth European Grand; Mono Grand; Upright Piano; Piano + Strings; Piano + Pad
• Bank 5 – Organ: Tonewheel (x3); USA Tube Console; Italian Combo; VOX Combo
• Bank 6 – Other: Real Strings; Tape Strings; String Machine; Real Choir; Synth Brass;
• Sharp Brass

EFFECTS:

• Equalizer: Bass, Mid, Treble
• Pre FX: Compression; Boost; U-Vibe; Chorus/Vibrato; Tremolo; Wah (Pedal or Auto)
• Amp Model: Clean; California; Tweed; AC30; Mod’ed OverDrive; Organ Hi-Gain OverDrive
• Modulation FX: Chorus 1; Chorus 2; Phaser 1; Phaser 2; Flanger; Rotary (Fast/Slow switch)
• Reverb/Delay: Room; Plate; Hall; Spring; Tape Echo; Stereo Delay (Tap-Tempo)

Sneak Preview: The Korg SV-1 Stage Piano is a new keyboard focusing on piano and electric piano sounds. Or in Googlish:

Following stage piano, Korg SV-1. Vintage, made in Retoromodan theme, even Retorofyucharisutikku the 60’s design is guaranteed to be shined on stage and feel.

If that’s what “Retoromodan” looks like, I want to get me some.

The Korg SV-1 Stage Piano will be available in 73 & 88 key versions. Synth features like mod wheels, split functions and ADSR envelopes were apparently eliminated from the Korg SV-1 design, with the focus instead being on top notch piano sounds.

We’ll have specs and pricing on the Korg SV-1 Stage Piano as they are made available.

via Gearjunkies

Syntheway has introduced Realistic Virtual Piano v2.5 VSTi, an Acoustic Grand Piano emulation VST instrument for Windows and Linux O.S.

Details and demos below.

If you’ve used Syntheway Realistic Virtual Piano VSTi, leave a comment with your thoughts!

What’s new in version 2.5:

• Added new Yamaha Grand Piano module.
• Kawai Grand Piano module have been totally re-sampled.
• Added Piano Selector option in GUI.
• Minor adjustments in GUI as well as in default parameters.
• Fixed a few minor bugs.

Main Features:

• Modeled on mastered Piano samples (normalized and noise-reduced). Based on PCM recordings of a Kawai and Yamaha Grand Pianos after it has been meticulously tuned and adjusted.
• To achieve such a remarkably authentic piano sound, has full length sustain samples, no loops (natural decay), stored in 16 bits and 44.100 KHz.
• ADSR envelope generator with Attack, Sustain, Decay and Release parameters and several modulation targets.
• Optimized CPU and memory usage. Stability: complete. Uses memory efficiently without sacrificing quality. Unlike many other piano modules and samplers, this piano will never overload CPU.
• Good live performances: never stick notes, never break the sound.
• Affordable price and user-friendly attitude are sure to attract many musicians
• Integrated, variable room simulation. Free variation of acoustic ambience thanks to complete separation of piano and room. Small rooms can be modeled just as accurately as larger spaces.
• Customizable with user controls for: size room, width room, damping factor & mixer, used to create psycho-acoustic models in the DSP environment, without having to load up any other plug-ins.
• MIDI Automation: Added complete MIDI CC#.

A demo version of Syntheway Realistic Virtual Piano VSTi is available.

When I was a kid, the Six Million Dollar Man showed that the combination of bionics and the human body could create a sort of ubermensh, better, stronger, faster – and able to fight off bad guys and jump over walls in slow motion.

But that won’t work on a piano.

Concert Hands, though, might just turn you into a bionic pianist.

Concert Hands incorporates Augmented Musical Instrument Technology (cue the cheesy bionic sound effect).

The four main components are the software, controller box, ten finger sleeves, and two wrist pilots.

The software takes the song file and converts it to a proprietary file system where the controller box distributes the signal to the wrist pilots and finger sleeves. The finger sleeves are placed on all fingers of both hands and the users wrists lay gently on the wrist pilots. When the music begins the wrists pilots guide your hands across the piano to a specific location and the finger sleeves receive a pulse to indicate which key to press.

The idea is after a period of time the repetitive motions and signals will develop muscle memory within the end user and enable him or her to play their favorite songs on their own.

Check out the videos and tell me if you think it would be wrong to hook up a bunch of kids to these, feed the system some John Cage piano music and see what happens.

Click here to view the embedded video.

Powell is best known for his he electric work with Utopia & Todd Rundgren, and his synthesizer albums Cosmic Furnace (Atlantic) and Air Pocket (Bearsville).

This is an audio demo from the 1970s, Herbie Hancock demos the Rhodes Sound.

Click here to view the embedded video.

via jafafah0ts:

Herbie Hancock discusses and plays the Rhodes Piano in this vintage 1970s demonstration flexi-disc. Side one of two sides. Check my other videos for side 2.

This is a demo of The Lamb Lies Down On Broadway by Genesis and played on PianoStudio (App Store link) on an iPhone.

Features:

• Three high-quality piano instruments (Grand 1, Grand 2, Upright)
• 9 built-in demo songs
• Built-in Recorder with overdubbing, variable tempo, metronome, and undo/redo
• Tilt-controlled volume and sustain pedal
• Awesome phrase editor lets you create repeating patterns or passages that would otherwise be impossible to play
• Built-in chord library with over 10,000 chords
• Lots of visual customizations to help you organize and play your tunes
• 5 banks of buttons per song
• 9 available button layout styles with between 8 and 40 buttons, plus keyboard-and-buttons style

PianoStudio retails for $6.99.

Here’s another demo of PianoStudio in action:

Click here to view the embedded video.

Sunday Synth Jam: This synth jam, Synth Blues Improv with Alesis Micron, is “is a blues jam obviously inspired by Vangelis Blade Runner, but it isn’t a cover. It is to show the Micron’s amazing capabilities.”

Nice, but watch out for the abrupt ending…..

via hdebbache2000:

The sounds are custom, and I’m especially proud of the brass patch.

In a while I’ll start doing some more rythmic pieces like jarre and such, for now I just wanted to master this synth, so here is a relatively simple improv. Enjoy!

Synthtopia regular Torley posted this very nice PianoTeq piano solo/new age jam.

One commenter on the video declared this “So Soothing. Better than watermelons.?”

Give it a listen and see if you agree.

via Torley