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Post by cowboycoalminer on Apr 7, 2014 20:38:31 GMT -6
Damn if she aint got one helluva sexy voice. Was there a piano in that video??
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Post by matt on Apr 7, 2014 21:04:42 GMT -6
I love women with talent. I love them.
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Post by Guitar on Apr 7, 2014 22:26:35 GMT -6
Looks like a Yamaha CP something based on the buttons. I just got a CP33 TODAY! and it's really nice. The feel is the best I've tried out of not too many, including other Yamahas. Great action, very touch sensitive. The main piano sound is excellent. Sounds like the Yamaha C7 grand that I've heard is the most popular recording piano. It still has that ringiness on the sustain that was mentioned about samples, but when you just play it, it sounds very natural, and almost real. My favorite thing about it is Yamaha sells parts for it, and, it's easy to work on, as I already found out. I got it for $400 because a key was broken, along with the plastic side piece. It got so banged around by UPS in its bad ugly musician's friend box I had to reattach a few dozen keys when I opened it this morning, and pick out little pieces of the broken key from under the keybed that were jammed in weird spots. I was looking at Casios, Korgs and stuff, but I wanted something more substantial, more professional even. The Yamaha is solid, I learned, after what Musician's Friend did to it. It's really elegantly wired and assembled internally as well--a bit of a work of art, a real instrument. My 1983 DX7 is like this inside, too. Great workmanship.
I cannot stand playing Kontakt. Popmann is right, it's not for players. Took me a year to realize that. Even at 2-3 milliseconds latency I get this disconnected feeling. So I'm starting to use rackmount synthesizers for my main playing sounds, like the Roland XV-3080. And I purposefully bought a digital piano with a good built-in piano sound, for this reason, so it wouldn't just be a controller. I'm still messing with sound libraries though. It's nice to have the sounds available at least, for MIDI tracked stuff.
Another problem with samples is a lot of them have truly weird note-off behavior, various of the rhodes and piano libraries are useless to me because if I release the sustain pedal at the "wrong" time all this awful sound will blurt out all at once. My hardware, the CP33 and the XV-3080, don't torture me with this.
Regarding learning the piano, I would agree that if you have a passion for it, it might happen quicker than you think, if you are already a musician. The improvement I've had in the past 2-3 weeks even has slightly surprised me. Chords and inversions does seem like the right place to start, and learning a few actual songs, the more, the better.
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Post by popmann on Apr 8, 2014 16:49:45 GMT -6
It's a CLP280 according to their site. But, again--doesn't necessarily mean that's what the audio is that is on the DVD.
What I like about it is how they got that sort of ragged mid range (meaning the range of the piano not frequency) of a well worn Yamaha. It translates into where a huge amount of the time is spent with the right hand in pop---that octave around middle C....well worn pianos develop a kind of buzzy quality through there for being bashed on more than the rest of the keyboard. The SaraB sample above has that. I chose that song specifically to highlight it.
I was playing my Kronos last night...what a wonderful instrument. I bought it honestly for the EPs...having the Yammy U3 and Hammond C3/122 here...it was literally just the best EP machine I've ever laid fingers on--but, in terms of hardware, it's also the best acoustic pianos. And I retired all my old synths sampling some of my fave complements into the Kronos's user bank and rolling my Roland era, Gigastudio, and Kontakt creations into new custom pads that autoload like they're built in. It's not my only digital board. I still have an old Voce organ module--but, it's in a closet--sentimental value, really--as the recently updated Cx3 modeling engine in the Kronos is better. But, for history buffs--that was the first to use complement modeling to emulated a Hammond with dynamic drawbars...you all might recognize Dave Amels' name--as I think he's making analog models or Fairchild and tape and such now under a different company. That was revolutionary in the mid 90s when I bought it. I remember everyone being like "why would you pay so much...it's 'just' and old sounding organ with one sound"...ha...
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Post by M57 on Sept 1, 2015 5:49:48 GMT -6
Resurrecting an old thread.. I noticed this one went OT ..in the worst way - right to virtual pianos. I'll be the first to understand and agree that for most people, virtual is far and away the easiest and most reasonable way to go, but I've got a Kawaii RX-2 which I bought new about 15 years ago, and it's finally in the studio. Yep, recording a RL piano is a bitch, but here I am trying to do it anyway. It's a home studio, so for the time being, I'm not looking to purchase additional mics. Just want to optimize what I have first. First I'll start off with tuning. Fighting phase issues in recording is one thing, but starting with an out of tune piano is worse. My solution and recommendation: TuneLab Yeah, it's $300, and "for pros only," but it runs on any tablet, and it's not that difficult to figure out. Invest $100 on a good hammer and wedges and you're good to go. I'm no piano tuner and I can rock the app. It features sophisticated control over everything including stretching, and once dialed in the way you like it, just save your preset ..heaven. I've been using it about every other week for the last 6 or 7 years, so it's paid for itself close to 1000x (no kidding). Not only that, but right in the middle of the session, when a note or two goes south, I can tune it on the spot. My piano tuner is a friend who knows how I liked it tuned, and even he admitted, "You're crazy to hire me." 'Enough said. So just when I think I've found a great way to record the damn thing, when I try to replicate it a few weeks later, it sounds like shit - with mostly phase issues, which totally makes sense. Yeah, inches are important, but I don't even have to move the mics, so clearly humidity and various astrological and karmic phenomenon are also at play. I don't have a great sounding room, so I pretty much make sure that all primary reflection points are treated from the instrument to the mics ..though sometimes I get lucky with a well placed room mic. I've got two Rode NT-5's that I've positioned in various places close-micing (anywhere from 6-12" from the soundboard and at varying distances from each other) with the lid wide open, and the reading stand off. Then a NT1a and an AT-4033 that I place in various positions around the room, usually 3-5 feet from the piano. I've got a few SM-57's and some other mics that I could play with, but the Rodes and the Audio Technica are the four I've been playing with for now. I've been following the recent Overhead kit/Kick thread, and wondering if any of the techniques folks are sharing there port over to micing pianos. Or not.. I know most of you live in the virtual piano world, but I also know there are many here with lots of experience micing the real thing. Next I'm going to try closing down the lid to the two lower heights to see if that helps to tame the boxiness I sometimes have to deal with. |
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Post by Martin John Butler on Sept 1, 2015 7:43:39 GMT -6
Logic's Yamaha pianos sound like Yamaha pianos. Have you tried them cowboy? They're quite good. If you'd like a piano in the studio, just get a used Yamaha upright. It won't hog space, and sounds as good as anything you'll ever find, unless you're into serious classical playing. If a Yamaha's too pricey, Young Chang is the thing to look for, they're good, and probably undervalued. A sweet Yamaha upright just sold at my local thrift shop, (Housing Works) for $1,000. In NYC, even the thrift shops are fancy. As for loving talented woman, well, I'm doing OK in that department. My wife Janet's a former Atlantic Records artist, but left the business, and helps me with backups at home. Attachments:
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Post by M57 on Sept 1, 2015 10:46:17 GMT -6
Logic's Yamaha pianos sound like Yamaha pianos. Logic's Yamahas attack nice enough - but they sustain like an empty can of tuna fish. Something's fishy. I recorded these this morning to illustrate: There's a rhodes doubling the intro - but 80% of the recordings are straight piano.. #1. Logic's Yamaha Concert Grand.. soundcloud.com/m57/logic-yamaha-grand/s-cPLrs#2. A couple of NT-5s facing straight down 14" apart, right in right in front of me ~4" above and between the hammers and the tuning pegs. An NT1a two feet behind me aiming over my head. I'm mixing them quite evenly. A little compression on each track, but no verb sauce and nothing on the 2 buss. soundcloud.com/m57/three-mics/s-GwKUbNothing comes close to the depth of the real thing, but there are SO many little weird artifacts to massage. In the same recording, some things sound pretty good to me, ..and then there are moments when I cringe. When I listen to the VI, I just cringe mildly all the time. |
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Post by Martin John Butler on Sept 1, 2015 12:22:15 GMT -6
"but they Sustain like an empty can of tuna fish. Something's fishy." Love that M57 !
I rarely use piano, and in fact, I do remember the sustain was weird, so I'm sure you're right.
*Yikes, just listened to those tracks, and the difference is huge. Of course miking it that way is a large factor, but the sustain and ambience is in a different league. My uses for Logic's piano is almost as a background support, never for a track like that.
Remember, my first suggestion was to get a Yamaha upright ;-) I've seen cowboys studio, and it would be a good fit there I think.
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Post by Pueblo Audio on Sept 1, 2015 17:18:39 GMT -6
I apologize in advance, but I just couldn't help myself....
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Post by mobeach on Sept 1, 2015 17:29:48 GMT -6
I bought Ivory II's American Concert D and Italian Grand II. Couldn't be happier! Find a fully weighted controller that you're happy with and enjoy no longer thinking about if you should buy a piano or not! Or a half decent digital piano like a top of the line Casio, and use it as a controller. |
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