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While the binaural position works well blending with most other mic positions, the room mic is best used on its own. I especially liked the binaural and room mic positions, in terms of how well they could just blend into an existing mix without reverb. This is a piano that I was always happy to load and see how it would work on a given track, or compose a new piece or just sit and jam for a while. It worked well out of the box for both soft intimate pieces and big dynamic ones.Įmbertone’s Walker 1955 Steinway D (I’ll call it Walker 1955 for short from here on) only gets better with additional dynamic layers. This is important to emphasize since it is a huge difference from many of the pianos in Quantum Leap Pianos, for instance (where I spent days on some of the pianos trying to modify the curves to something that worked for me without any success) or many other “cinematic” pianos that really only cover more subdued playing/coloration. I found this meant that the piano (while definitely catering best to classical, film and new age music) was a chameleon that could work well in any genre I threw at it, especially when the settings were tweaked from their defaults or additional processing was used.Įven when working with the twelve-layer Lite version, crossover points between dynamics are well-placed and chosen so that I could play without tweaking the factory curves at all (or adjusting my technique) while still covering a wide range in tonal color. The samples never felt over-processed or clinical and I got a lot of the same relaxing sensation I would get when I would listen back to acoustic recordings of my own performances in college. There’s an interesting feeling where it’s almost like both the piano and recordings are vintage on one hand, but with far more air than vintage recordings owing to the more modern sound chain. It’s full, warm and a bit darker than a many other libraries – but with lots of air and range. Organic, inviting, rich, natural and effortless are all really descriptors, actually. The first thing that will likely strike you, no matter with which microphone position you start out is just how organic the piano sounds. Each articulation has 36 dynamic layers (12 in the lite version) but you can toggle between 6, 12, 18, 24, 30 and 36 layers with a knob to suit your desired memory load.
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Finale garritan steinway piano velocity response full version#
The full version takes up roughly 187 GB owing to the six microphone positions sampled and the extensive sampling: normal, normal sustain, una corda, una corda sustain and staccato samples are all on offer. This review is for the 1955 Concert D + Full Mic Collection version but covers the differences regarding the less expensive options as well.
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According to our reviewer it is an organic yet unique rendition of a Steinway D.Įmbertone Walker 1955 Steinway D ($149 USD for the top of the line version including all mics and ranging down to $39 for the Lite version) is a new piano library from that marries a warm, rich and organic sound with some deep sampling as well as quick and easy customizability. A meticulously sampled 1955 Steinway D is on offer from Embertone.