![]() However, this week (like so much of Jazz) one of the star libraries breaks many of these rules! I also focus on the sound of the acoustic in which the samples are recorded, as they give the sound it’s character. I look for usability, great sounding recordings, flexibility of sound and how easily my computer will cope with the strains of running the sound library in question. ![]() If you’ve followed the series you’ve probably seen the regular disclaimer I’ve made about the important points to look for in a sample library, but just in case you’re late to the party: It’s an area that is not often explored as there aren’t nearly as many options for the budding jazz arranger / writer, but I want to share with you the jazz libraries I love and why! We have to be close to having a physical modeling means of doing what a real sustain pedal does maybe somebody already has a good one and I just haven’t heard it yet.This week in my series on my favourite orchestral sample libraries we are going to take a swinging side-step into the world of Jazz and Big Band sample libraries. And it’s actually pretty damned cool, I think! The original Gigapiano had these samples, and while it wasn’t really the same thing as what a sustain pedal does (you can depress the sustain pedal while you hold a chord and hear your whole sound expand in that great way), it really did have a cool sound that was better than anybody’s emulator. ![]() ![]() Still, we are often pedaling these passages a lot, which means you’re getting these samples most of the time. This ain’t perfect either, since we usually depress the pedal AFTER we’ve played the notes, and these pianos with the sus-pedal-down samples usually switch to those samples only when you’ve pressed the pedal on your keyboard. Most of what you hear of me on YouTube is the Ivory, including this piece:īut the quest for a better solution to the sustain pedal dilemna has, so far, been best answered by the idea of taking two sets of samples: one with the sustain pedal up, and one with it down and the whole piano ringing in sympathy. Still, for anything from a medium tempo up, or for pop pieces or rock piano, it works great and is fun to use on the gig. So Ivory on ballads is really pretty 2-dimensional to me you’re never going to get the whole instrument singing like a real piano can. It does indeed sustain the notes, but a real sustain piano on a real piano opens up every string on the instrument to vibrate in sympathy with the notes you play, which is a whole other phenomenon than just keeping your notes ringing. The one thing about it that I really don’t like is that the sustain pedal emulator doesn’t really do much for me. But the Italian Grand is a great instrument, plays really big, seems to be coming from the right place if I’m using stereo wedges or my in-ear monitors, responds well and VERY CONSISTENTLY, has a big, rich, but strangely slightly thin sound coming out of the box. I am REALLY, REALLY PICKY about my piano sounds 90% of what’s out there sounds “canned” to me I think the piano isn’t mic’d to my liking (in the case of some of the other Ivory pianos I question the way they are TUNED!), or sounds like it’s coming from “over there”, or it’s full of honks and resonances and hot spots that are just ugly to me. I was never a fan of the Ivory pianos until they released the Italian Grand I heard it at the NAMM show and bought it on the spot.
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