The two main built-in piano sounds aren't based on a particular brand of piano, although since Pianoteq's launch the company have used the same technology to capture the sounds of seven museum-piece keyboard instruments, and these add-ons are free downloads for registered users.
This instrument uses physical modelling rather than the more common sample-based approach - hence the software's tiny 15MB file size. If Dan and Ernest provided just their original source samples in the Digital Model One, it would already have been a great instrument, but the flexibility and tonal possibilities you can get from using the are tremendous and really add another dimension to the sound." Modartt Pianoteq v2.2
In SOS November 2007, Mark Wherry was impressed: "When I started to play the Digital Model One I almost forgot that I was sitting in front of an electronic instrument. Other unusual features include support for a variable sustain pedal (for a more natural playing response) and a facility to retune just intonation on the fly to suit whichever key you're playing in.
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All that convolution requires at least a 2.8GHz Pentium 4/Athlon PC or a 1.8GHz Apple G4/G5. These elements are instead recreated using convolution processing, which effectively allows you to change the construction of both piano and room using the large built-in library of impulse responses. The sound was captured very dry, in order to eliminate, as far as possible, the resonant character of the piano and the recording room. Each note of the piano was recorded at 12 velocity levels, with a phenomenally low noise floor. This library is based on samples of a Blüthner Model One recorded by Dan Dean & Ernest Cholakis on the scoring stage at Lucasfilm's Skywalker Sound studios. Classic-sounding without being too 'steely' or overbearing, the instrument is subtle and expressive enough for jazz and classical music, and strong and bright enough to cut it in a pop mix." Blüthner Digital Model One Dynamic transitions remain smooth right across its seven-octave range the beautifully transparent high notes are responsive to the most delicate of touches and the bass notes can deliver weight and power. In the interim, here are Dave Stewart's thoughts on the Steinway sound from the Galaxy 5.1 review in SOS March 2006: "The piano sounds great.
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A full review of the library is in progress as I write this, so keep your eyes peeled. Special features are a convolution reverb, a programmable pad-synth layer, and a Warp section of four sound-design effects. Each was copiously multisampled, and the Steinway, as before, was miked up for surround as well as stereo, resulting in an overall library of about 29GB.
The successor to Galaxy Steinway 5.1, Galaxy II offers three sampled grand pianos: the original Steinway Model D 270, recorded in Belgium's Galaxy Studios, a nine-foot 96-note Bösendorfer Imperial 290, recorded in Germany's Hansahaus Studios and a 1929 Blüthner Model 150 baby grand. Audio examples and 40-day demo can be downloaded from the company's web site (see 'Pricing' box). Included in the price is a year's worth of downloadable Module updates: the Sapphire Module was new in October 2007, and further new Modules are promised. The output is free of room ambience, so you can add processing according to your needs. The interface is simple, with each basic piano sound ('Module') offering a number of sonic variations ('Presets') along with straightforward keyboard dynamics, tuning reference and note release controls. Recommended CPU specs are a 2.5GHz single-core or 1.5GHz multi-core PC, or a Power PC G5 or Intel multi-core Mac, with neither needing more than 256MB RAM. True Pianos offers three basic piano sounds of unspecified provenance ('Diamond', 'Emerald' and 'Sapphire'), with excellent polyphony and modelled sympathetic resonance, despite the slim file size (75MB for Diamond). This buyer's guide aims to make the task of choosing a suitable instrument quicker and easier, as well as providing a Jargon Buster (see page 182) to get you up to speed with the necessary piano-related technical terms. There are lots of contenders to choose from, each with its own slant favouring certain applications. Nothing can quite match the sound of a real grand, and elsewhere in this issue we explore methods of recording one, but in practice a lot of home studio owners find sample sets or virtual instruments a more practical option.
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If recording a real piano isn't for you, there's no shortage of very convincing software alternatives.
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