[Falcon音色库Workstation音色库三角钢琴]VI Labs Modern D（14.24GB）

下载地址
[不断更新：Falcon音色库预置合集]UVI Soundbank Collection v2025.1（400GB+）
（其内已包含）

P2P | 21 March 2025 | 14.24 GB

安装方法：安装说明包含在下载的文件中。您需要 R2R Falcon 才能使用它。

1、安装激活采样器：UVI Workstation v3.1.12 R2R-win
2、在软件菜单设置里添加包含.ufs的音色库文件夹路径
3、将R2R里的激活证书拷贝到：C:/ProgramData/UVI/R2R（显示隐藏文件）
4、重启开启 UVI Workstation

与众不同的虚拟 D 型钢琴
我们最新的音乐会三角钢琴库的概念和主要功能

Modern D 是我们对世界上最知名的音乐会三角钢琴的完美模拟。Modern D 取材于 2021 年纽约施坦威© Model D，因其精致的音色和强大的力量而被选中，是我们有史以来最雄心勃勃、最大的钢琴样本库。该库包含 34,615 个原始采样，采用 5 个立体声麦克风设置，所有采样都通过一个美观、易于使用的界面进行控制。我们新的自然响应方法在每个麦克风中重新创建每个琴键的完整动态范围，因此每个触摸输入都会产生真实钢琴的真实和准确的响应。许多音符的动态范围超过 50db，有些延音可以持续两分钟以上。这是终极的录音室音乐会三角模拟器，触手可及。

与 VI Labs 一样，100% 的声音是从真钢琴中采样的，根本没有合成或伪造任何东西。像 M49 和 4006 这样的传奇麦克风被选中来捕捉一切，包括每个麦克风 2,500 个释放轨迹、多层交感共振、带有自己的释放样本的完全采样 Una Corda，以及采样的 Muted Strikes、Half Pedal、Silent Strikes，以及 Pedal 和 Key 噪声。凭借其巨大的音色和音量范围，这架钢琴可以做到这一切。它是明亮的、圆润的，还是介于两者之间的任何地方，完全取决于它的演奏方式。从最柔软但细致的钢琴，到最具侵略性的咆哮强音，Modern D 都能满足您的需求。这确实是钢琴家的虚拟钢琴。

主要特点

34,615 个样本，将 118GB 的波形数据组成一个整洁的 18GB 文件。庞大的库，由于无损压缩和复杂的脚本，占用空间小。这也意味着快速加载和高效的 CPU 使用率。
5 个立体声相位对齐的菜单式麦克风，带有交互式麦克风显示。世界一流的麦克风和设备具有不同的视角，涵盖了录制音乐会三角钢琴的各种方式，包括近处和远处。
真正的深度采样共振，适用于踏板下降和交感共鸣类型。强大的脚本重新创建了真实的踏板共鸣行为，为音色添加了复杂的深度和延音，所有这些都是完全可调的。
完全控制多达 4 个踏板，包括采样的 Una Corda。包括重踏板和可调节的半踏板功能。Sostenuto、Una Corda 和 Muted Strikes 都是 MIDI CC 可控的，造就了一架极具表现力的钢琴。
新的 MIDI 面板，具有独特的音色和音量分离控制。高分辨率离散工作台和控件允许为任何可以想象的响应自定义曲线。包括许多预设，或创建自己的预设。
每个麦克风 2,500 个释音采样，包括响应最快演奏的断奏释放，无需运音法。Release 采样捕捉了 Model D 音乐会三角钢琴的共鸣环，对于真实感至关重要。

音频和视频
收听我们的演示并观看视频。

钢琴 ¦ THE SESSION
我们寻找最好的钢琴和最安静的录音室，并找到了两者 – 观看视频

Modern D 是从一把非常新的施坦威© Model D 音乐会三角钢琴中采样的，序列号为 #616803。它建于 2021 年，采样时不到一年，因其精湛的音色和巨大的力量以及每个音符都有强大的基础而被选中。在其生命周期中，顶级音乐会技术人员在音色和触感上都经过了完善，这充分发挥了这款世界级乐器的潜力。动态范围超过 50db 且持续超过两分钟的单音符只发生在最好的钢琴上。调音非常出色，并且在会议的所有时刻都由同一位技术人员保持。这真的就像音乐会三角钢琴的 F1 赛车。

对于任何原声钢琴样本，录音空间对声音的影响与其他任何东西一样大。对于我们的现代声音，我们需要一个足够大的私密工作室，让钢琴充满但不压倒一切，并且足够详细，以记录每个麦克风的引脚掉落。这是我们有史以来最安静的工作室，它让我们创造了迄今为止最原始的样品。房间大小也很重要;需要干燥来保留精细细节，尤其是对于我们的断奏释放，还需要足够的空间感和距离感，没有不需要的房间反射或驻波。有了这个库，你真的感觉就像在这个房间里的这架钢琴前，你自己的虚拟 D 型模拟器。

作为新的纽约 Model D 之一，现在与汉堡制造的同类产品几乎没有区别。这主要归结为他们的发声方式，这架钢琴非常符合纽约的传统，但采用了最新的构造和材料。即使在最柔和的 “无声打击 ”样本中，也可以听到新的琴槌和阻尼器毡的清脆细节，尤其是在带有楔形阻尼器的音符上，以令人惊讶的活力和延音激发琴弦。根据制造商的规格，调音是通过听觉完成的，并由技术人员在使用 ETD（电子调音设备）进行监控时始终保持。音色非常均匀，不仅从一个键到另一个键，而且在每个琴槌中，当从最柔和到最响亮时，相同水平的颜色变化在各个方面都是一致的，这对于最高水平的演奏至关重要。您可以确信您触摸的每一个细节都完全按照预期说出来，绝不会引用错误。

VI Labs 钢琴库的目标是尽可能精确地捕捉乐器本身，然后使用我们专有的流程和脚本以虚拟方式重新创建它。因此，我们使用的空间不能太混响或以不良方式影响声音。本底噪声至关重要。即使我们采用了最新的方法来减少样本中的噪声，我们也需要尽可能安静的工作室，以便保留样本中的所有细节，即使是最柔和的 Silent Strike 样本也是如此。结果是五个立体声麦克风的原始和干净的样本，在一个具有足够空间感的一流房间里忠实地捕捉了这种乐器，并且在任何动态层面上都没有损失保真度。

完整的虚拟钢琴工作室
五个菜单可选麦克风设置，带交互式麦克风显示 – 观看视频

从录制的多达 39 个独立麦克风中，我们选择了会议中最好的五个立体声对，它们从几个传统角度完全捕捉了这架钢琴，接近远处，或多或少有琴槌的存在，所有这些都具有干净的高端音色。像 U87 和 M49、C414 和 4006 这样的传奇话筒被选中，不仅因为它们奢华的声音，还因为它们完美地捕捉了这架钢琴的细节。大型三角钢琴的声音根据麦克风的放置位置而有很大差异。这五个立体声对因其在角色和位置上的多样性、直接与房间的平衡以及它们混合在一起的美妙程度而受到青睐。

在录音室录制原声钢琴时，可能有很多选择。不同的麦克风和位置都提供了不同的视角和特性，绝不局限于一种基本音调。我们的麦克风是从调音台菜单中选择的，界面显示每个麦克风都是在真实钢琴上设置的。来自近处和亲密、宽广和远处、温暖或明亮，所有这些都可以通过这些话筒实现。以任意组合加载和混合麦克风。每个麦克风都经过时间校正和相位对齐，因此即使是远处的 Room 麦克风也没有额外的延迟;所有麦克风的响应和混音都非常出色。

我们采取了一切措施来确保最纯净样品的最大信噪比。所有前置放大器都在直播室中，与麦克风的连接很短。所有麦克风前置放大器均由 Grace Design© 和 Neumann© 提供，A/D 转换使用 Digital Audio Denmark© 转换器完成。UI 的主面板具有 Mic 选择和 Mixer。从下拉菜单中选择一个麦克风，麦克风已预加载，交互式显示屏会像采样会话期间一样显示该麦克风。单击圆形箭头以加载样本。使用推子设置麦克风音量，并使用电源按钮打开/关闭。如果麦克风已加载但已关闭，则采样将保持加载状态，但处于非活动状态，因此不使用复音。单击复选标记按钮可清除样品并根据需要释放 RAM。

Close U87：一对全新的配对的著名大振膜 FET 麦克风，在钢琴内部的高音和低音琴桥附近间隔成对。它们具有大型沉浸式立体声图像，并且可以在需要时很好地获得 EQ。确实是一种非常现代的声音，可以混音，非常适合任何流行或钢琴独奏作品。鉴于这些麦克风出色的技术规格以及它们靠近钢琴的位置，可以轻松捕捉最微弱的声音，音质也非常干净和细腻。

Hammers M49：传奇的老式电子管电容话筒，在琴槌上成对间隔，其位置可实现琴槌和音板音色的最佳平衡。这些 M49 神奇地带出了传奇的纽约 D 型锤咬合以及适量的琴身，因此它们听起来永远不会单薄或笨拙。我们很少使用老式电子管麦克风进行采样，因为可靠性和噪音几乎总是一个问题。但是这些完美无暇的 M49 非常适合对这架钢琴进行采样，它们的音色被捕捉到，不容错过。一位会话工程师指出，“有了这些话筒，就像听到这架 Technicolor 钢琴一样。

玩家 C414：一对老式 EB，带有原始的 CK-12 “黄铜”胶囊，采用 NOS 配置，戴在玩家的头上。锤子细节的完美平衡，恰到好处，给周围空间感。图像比近距离或侧面麦克风略窄，它们在任何耳机或扬声器中听起来都很棒。使用老式 FET 麦克风采样也有点风险，但这些麦克风也完美无瑕，并以坐在这个房间的这架钢琴前的中性但美丽的图像给出了我们想要的。

Side 4006：匹配的一对经典古典录音话筒，小振膜全指向电容，位于盖子外的间隔 A/B 中，用于传统古典声音，更少的锤击声，更多的琴身从侧面突出，因为观众会听到与演奏者相比。与近距离麦克风和玩家麦克风不同，非常纯净的音调特性，由于它们的全指向音模式，它赋予了钢琴的真实音调和足够的额外空间声音。这些捕捉到了纽约声音的温暖，以及它的力量。它们晶莹剔透，但同时又很温柔。

房间 MK2H：带有 MK2H 极头的 CMC6 机体，间隔成一对 A/B 对，高约 10 英尺，远离钢琴。最初是 Decca Tree 的左右麦克风，但由于设置的间距较窄，我们没有在中央麦克风中混音，因此将离散信号保持为标准 A/B 对。这些非常适合作为房间麦克风与任何其他麦克风混合，也可以独立用于更远的漫射声音，而不会太空间或缺乏焦点。即使在干燥细致的录音室中录制钢琴，也没有什么可以取代乐器到麦克风的距离，而且巨大的钢琴需要空间来“呼吸”，因此全能房间麦克风是必不可少的。

真正的交感共鸣
两种类型的踏板踩下和踩踏板抬起，完全基于样本 – 观看视频

钢琴家们已经习惯了原声钢琴中产生的交感共鸣，以及它们对延音和和弦解析方式的重要性。这些共鸣将各个琴弦混合在一起，形成一个乐器。当按住与谐波相关的键时，当其他琴键被弹奏时，会产生交感共鸣，而当延音踏板处于踩下状态时，当弹奏音符时，所有琴弦都会一起振动，从而产生踏板共鸣。使用巨大的音板和长弦，共鸣效果很强，并为延音增加了主体和绽放。

踏板向下和和声键踏板向上共振都是基于采样的，不以任何方式合成。我们相信钢琴音色的这一重要部分只能用所有麦克风的样本来最好地模拟。Modern D 采用我们新的多层共振样本，以提供复杂不断发展的音色。它们针对这两种类型的高级谐振模型进行了精确采样和脚本化，可以像真实模型一样自然地响应。两种类型的 Resonance 音量都是可调的，并且 Sympathetic Resonance 有自己的复音设置。

我们的共鸣特性在行为上与真钢琴仔细匹配。这是通过 UVI 引擎和我们的精确采样方法实现的复杂脚本完成的。最终结果是令人惊叹的，并紧密再现了真实钢琴中发生的事情，同时仍然可以完全控制共鸣音量。以下是接口上所有 resonance 特征的描述：

• 踏板共鸣是当踩下延音踏板并弹奏琴键时所有琴弦和谐振动的独特声音。Pedal Resonance 采样的音量可以独立控制或多或少的效果。我们新的踏板共鸣方法是我们有史以来最准确、最逼真的方法，完全捕捉了音符的起音，并且比以前具有更多的主体和音调。
• True Pedal Action 将 Pedal Resonance 采样与你的延音踏板运动联系起来。在踏板向下弹奏和弦时，其他琴弦会产生共鸣，但如果延音踏板升起然后迅速下降，琴弦将再次产生共鸣，但音量较低。这使得基于采样的 Pedal Resonance 能够像在原声钢琴上一样工作，并提供传统 Pedal Resonance 方法无法实现的真实感。
• Repedal 允许在快速抬起并再次按下踏板时混合和模糊持续的声音。这是踏板向下持续声音的关键组成部分，它与踏板向上播放的任何声音都不同。如果你足够快，你也可以用踏板 “捕捉 ”一个音符或和弦，由于琴弦更长、更大，这在贝斯中更容易。
• 当与被敲击的琴键和谐相关的琴键中触发分音时，就会发生交感共振。这不仅是钢琴音色和延音不可或缺的一部分，而且在音乐上也得到了很好的使用，例如默默地保持和弦并弹奏与和声相关的琴键，以在所持有的和弦中引起这种共鸣。
• Sympathetic Polyphony 允许独立控制 Sympathetic 效果允许的声部数量。如果你专门使用此效果并想要更多效果，只需增加复音值即可。或者减少以节省系统资源。

REAL UNA CORDA SAMPLES
三角钢琴音色的重要组成部分，完全采样 – 观看视频

三角钢琴与立式钢琴相比的一个明显优势是它们的柔软或 Una Corda 踏板，它将整个动作向右移动，因此通常敲击三根琴弦的琴槌只会敲击两根琴弦，依此类推。此外，琴弦由琴槌的一部分敲击，该琴槌的声音不同，以产生更柔和、柔和的音调。Modern D 包括一个完全基于采样的 Una Corda，与普通延音相比，它有自己的释放采样，可以提供更柔和的起音和更强的释放轨迹。这增加了另一层仅在三角钢琴中可用的音色。这真的就像在同一架钢琴上有两组琴槌，你可以实时切换。

如果没有真正的 Una Corda 样本，高级三角钢琴库将是不完整的，因为古典钢琴家和其他要求苛刻的钢琴家使用它来降低柔和段落的音量，还可以获得音色的独特变化。这不是一个容易模仿或建模的效果，因为音调的变化来自真实钢琴的物理因素，例如不同的琴槌音色、未敲击琴弦的等分琴弦效果，以及由于琴弦振动不同而导致的释放轨迹的特殊音调。

许多三角钢琴上的 Una Corda 音色是经过多年的演奏而自然形成的，琴槌最终会从正常演奏中变得更深、更紧凑的凹槽中，因此移位的琴槌在敲击琴弦的凹槽之间会有一个更柔软的区域。不过，在较新的钢琴上，Una Corda 通常是单独发声的，这提供了更好的控制和一致性。我们的现代 D 钢琴是为全班 Una Corda 设置的，但并没有太多，以至于琴槌最终敲击在正常敲击的区域，但仍然完全清除了第一根琴弦。这允许在凹槽之间小心地单独发声琴槌，以获得可爱柔和的 Una Corda 音色。

默认情况下，Una Corda 踏板处于关闭状态，采样处于卸载状态。点击 Load 按钮为当前加载的任何麦克风加载这些采样，软踏板的默认踏板 CC 为 67。根据需要更改 CC，或者在不使用踏板或其他 CC 时使用 ‘S’ Solo 按钮激活 Una Corda。

安装说明包含在下载的文件中。您需要 R2R Falcon 才能使用它

P2P 网络

A VIRTUAL MODEL D LIKE NO OTHER
Concept and key features of our latest concert grand piano library

The Modern D is our impeccable simulation of the world’s most well-known concert grand. Sampled from a 2021 New York Steinway© Model D, chosen for its exquisite tone and immense power, the Modern D is our most ambitious and largest piano sample library ever. The library contains 34,615 pristine samples in five stereo microphone setups, all controlled from a beautiful, easy-to-use interface. Our new Natural Response method recreates the full dynamic range of each key within each mic, so every touch input generates the true and accurate response of the real piano. Many notes have over 50db of dynamic range and some sustains can last well over two minutes. This is the ultimate studio concert grand simulator, at your fingertips.

As always with VI Labs, 100% of the sound is sampled from the real piano, nothing is synthesized or faked at all. Legendary microphones like the M49 and 4006 were chosen to capture everything, including 2,500 release trails per mic, multi-layered sympathetic resonances, fully sampled Una Corda with its own release samples, plus sampled Muted Strikes, Half Pedal, Silent Strikes, along with Pedal and Key noises. With its massive range in both timbre and volume, this piano can do it all. Whether it’s bright, mellow, or anywhere in between is entirely dependent on how it is played. Everything you want from the softest yet detailed pianissimos, up to the most aggressive growling fortissimos, the Modern D delivers. This truly is the pianist’s virtual piano.

KEY FEATURES

34,615 samples composing 118GB wave data in a tidy 18GB file. Massive library, small footprint thanks to lossless compression and complex scripting. This also means fast loading and efficient CPU usage.
Five stereo phase-aligned menu-based microphones with interactive mic display. World class mics and gear with diverse perspectives cover every way of recording a concert grand all around, close and far.
Real deeply sampled resonance for both pedal down and sympathetic resonance types. Powerful scripting recreates real pedal resonance behavior adding complex depth and sustain to the tone, all fully adjustable.
Complete control of up to 4 pedals including sampled Una Corda. Repedal and adjustable Half pedal features included. Sostenuto, Una Corda, plus Muted Strikes all MIDI CC controllable make for a highly expressive piano.
New MIDI panel with unique split controls for both timbre and volume. High resolution discrete tables and controls allow custom curves for any response imaginable. Many presets included, or create your own.
2,500 release samples per mic including staccato releases that respond to the quickest playing, no articulations needed. Release samples capture the resonant ring of the Model D concert grand and are crucial for realism.

AUDIO AND VIDEOS
Listen to our demos and watch the videos.

THE PIANO ¦ THE SESSION
We sought out the best piano and quietest studio and found both – watch video

The Modern D is sampled from a very new Steinway© Model D concert grand with serial #616803. Built in 2021, less than a year old at the time of sampling, it was chosen for its superb tone and immense power with a strong fundamental on every note. And it has been perfected in tone and touch by a top concert technician over its lifetime which has brought out the full potential of this world class instrument. Single notes with over 50db of dynamic range and sustains lasting more than two minutes only happen with the best pianos. The tuning is superb and was maintained during all moments of the session by the same technician. This really is like the F1 car of concert grands.

With any acoustic piano sample, the recording space can impact the sound as much as anything else. For our modern sound, we needed an intimate studio big enough for the piano to fill out but not overpower, and detailed enough to record a pin drop from every mic. This was our quiestest studio ever which led us to create our most pristine samples yet. Room size matters too; dryness is needed to preserve fine detail especially for our staccato releases, and also just enough roominess for a sense of space and distance, without unwanted room reflections or standing waves. With this library, it really feels like you’re at this piano in this room, your own virtual Model D simulator.

Being one of the new New York Model D’s, there are now very few differences with its counterpart made in Hamburg. It mainly comes down to how they’re voiced, and this piano is very much in the New York tradition but with the latest builds and materials. The crisp detail of the new hammer and damper felt can be heard throughout, even in the softest ‘silent strike’ samples particularly on notes with wedge dampers that excite the strings with surprising vigor and sustain. The tuning was done aurally, per the manufacturer’s specs, and was maintained at all moments by the technical staff while monitoring with an ETD (electronic tuning device). The voicing is incredibly even, not only from key to key but within each hammer when playing softest to loudest, the same level of color change is consistent in every way which is crucial for the highest levels of playing. You can be confident every detail of your touch is spoken back exactly as intended, never misquoted.

The goal of a VI Labs piano library is to capture the instrument itself as precisely as possible and then recreate it virtually with our proprietary processes and scripting. Therefore the space we use cannot be too reverberant or color the sound in undesirable ways. The noise floor is crucial. Even with our latest methods to reduce noise in samples, we need the quietest studio possible so all detail in the samples is preserved, even with the softest Silent Strike samples. The result is five stereo mics worth of pristine and clean samples, the faithful capture of this instrument in a superb room with just enough sense of space, and with no loss in fidelity at any dynamic level.

COMPLETE VIRTUAL PIANO STUDIO
Five menu-selectable mic setups with interactive mic display – watch video

From a whopping 39 individual mics recorded, we chose the best five stereo pairs from the session that fully capture this piano from several traditional perspectives, close to far, more or less hammer presence, all with a clean high end tone. Legendary mics like the U87 and M49, C414 and 4006 were chosen not only for their luxurious sound but for how perfectly they captured this piano with so much detail. The sound of a big grand varies considerably based on where mics are placed. These five stereo pairs were favored for their diversity in character and their placements, the balance of direct vs. room, and how how nicely they mix together.

When recording acoustic piano in the studio, there can be many options. Different mics and placements all offer various perspectives and character, never limited to one basic tone. Our mics are selected from the mixer menus, the interface shows each mic as set up on the real piano. Tones from close and intimate, wide and distant, with warmth or brilliance, all can be acheived with these mics. Load and mix the mics in any combination. Every mic is time-corrected and phase-aligned so even the distant Room mics have no extra delay; all mics respond and mix incredibly well in any combination.

Every measure was taken to assure the maximum S/N ratio for the purest samples. All preamps were in the live room with short connections to the mics. All mic preamps were by Grace Design© and Neumann©, and A/D conversion was done with Digital Audio Denmark© converters. The UI’s Main panel features the Mic selection and Mixer. Select a mic from the drop-down menu, the mic is pre-loaded and the interactive display shows that mic as it was during the sampling session. Click the circular arrow to load the samples. Set mic volume with the fader and switch on/off with the power button. If a mic is loaded but switched off, samples remain loaded but are inactive so no polyphony is used. Click the checkmark button to purge samples and free up RAM as needed.

Close U87: Brand new matched pair of the well-known large diaphragm FET mics, in a spaced pair near the treble and bass bridges inside the piano. These have a large immersive stereo image and take EQ very well, if even needed. A very modern sound indeed, mix-ready and perfect for any pop or solo piano work. The sound quality is also extraordinarly clean and detailed, given these mic’s great tech specs and their proximity to the piano capturing the faintest sounds with ease.

Hammers M49: The legendary vintage tube condenser mics in a spaced pair over the hammers, positioned for best balance of hammer and soundboard tone. These M49s magically bring out the legendary New York Model D hammer bite along with the right amount of body so they never sound thin or plunky. It’s rare for us to use vintage tube mics for sampling as reliability and noise are almost always an issue. But these immaculate M49s were perfectly suited to sample this piano, their tone being captured was too great to miss. One session engineer noted, “With these mics, it’s like hearing this piano in Technicolor.”

Player C414: A pair of the vintage EB’s with the original CK-12 ‘brass’ capsules in a NOS configuration over the player’s head. A perfect balance of hammer detail with just enough room for a sense of space all around. A slightly more narrow image than the close or side mics, they sound great in any headphones or speakers. Sampling with vintage FET mics is also a bit risky, but these too were immaculate and gave just what we wanted with a neutral but beautiful image of sitting at this piano in this room.

Side 4006: Matched pair of these classic classical recording mics, small diaphragm omni condensers in spaced A/B just outside the lid for a traditionally classical sound, with less hammer bite and more of the body of the piano projecting from the side as an audience would hear vs. the player. A very pure tonal character differing from the close and player mics, giving the true tone of the piano with just enough extra room sound due to their omni pickup patterns. These capture the warmth of the New York sound, as well as the power of it. They’re crystal clear, yet tender at the same time.

Room MK2H: CMC6 bodies with MK2H capsules in a spaced A/B pair about ten feet high and far from the piano. Originally the left and right mics of a Decca Tree, but being set up with narrower spacing, we did not mix in the center mic and thus kept the discrete signals as a standard A/B pair. These work great as a room mic mixed with any other mics, but also standalone for a more distant diffuse sound without being too spacey or lacking in focus. Even when recording a piano in a dry detailed studio room, nothing replaces distance from instrument to mic, and huge pianos need space to ‘breathe’ so an omni room mic is essential.

REAL SYMPATHETIC RESONANCE
Both types pedal down and pedal up, entirely sample-based – watch video

Pianists are well accustomed to the sympathetic resonances that develop in acoustic pianos and their importance to the sustain and how chords resolve. These resonances blend the individual strings together as one instrument. Sympathetic Resonance is created when harmonically related keys are held down while others are played, and Pedal Resonance occurs as all strings vibrate together when notes are played while the sustain pedal is down. With the massive soundboard and long strings, the resonance effect is strong and adds body and bloom to the sustain.

Both pedal down and harmonic key pedal up resonances are sample-based and not synthesized in any way. We believe this important part of the piano’s tone is best emulated only with samples from all mics. The Modern D features our new multi-layered resonance samples to deliver a complex evolving tone. Precisely sampled and scripted for both types of advanced resonance models, they respond naturally like the real thing. Resonance volume for both types is adjustable, and Sympathetic Resonance has its own polyphony setting.

Our resonance features are carefully matched to the real piano in their behavior. This is done with complex scripting made possible with the UVI engine plus our precise sampling methods. The end result is stunning and recreates closely what happens in the real piano, while still giving full control of the resonance volumes. Here’s a description of all resonance features on the interface:

• Pedal Resonance is the unique sound of all strings vibrating in harmony when the sustain pedal is pressed down and keys are played. The volume of Pedal Resonance samples can be independently controlled for more or less of the effect. Our new Pedal Resonance methods are our most accurate and realistic ever and fully capture the note’s attack and have more body and tone than before.
• True Pedal Action ties the Pedal Resonance samples to your sustain pedal motion. A chord played with the pedal down will cause other strings to resonate, but if the sustain pedal comes up and then back down quickly, the strings will resonate again but with lower volume. This enables the sample-based Pedal Resonance to work the same as it would on the acoustic piano and offers realism not possible with traditional pedal resonance methods.
• Repedal allows blending and blurring of the sustained sound when the pedal is lifted and pressed down again quickly. This is a crucial component to the pedal down sustained sound which differs from anything played with the pedal up. You can also ‘catch’ a note or chord with the pedal if you’re quick enough, which is easier in the bass due to the longer larger strings.
• Sympathetic Resonance occurs when partials are triggered in keys harmonically related to keys that are struck. Not only is this an integral part of the piano’s tone and sustain, it’s also used musically to great effect such as silently holding a chord and playing harmonically related keys to cause this resonance in the chord that is held.
• Sympathetic Polyphony allows independent control of the number of voices allowed for the Sympathetic effect. If you’re using this effect specifically and want more of it, simply increase the polyphony value. Or decrease to conserve system resources.

REAL UNA CORDA SAMPLES
An essential part of a grand piano’s tone, fully sampled – watch video

One distinct advantage grands have over uprights is their soft, or Una Corda pedal, which shifts the entire action to the right so a hammer normally hitting three strings only hits two, etc. Plus the strings are struck by a part of the hammer that’s voiced differently to create a softer muted tone. The Modern D includes a fully sample-based Una Corda with its own release samples for a softer attack and a stronger release trail compared to the normal sustain. This adds another layer of tonal color only available in grand pianos. It’s really like having two sets of hammers in the same piano that you can switch in real time.

A premium grand piano library would not be complete without real Una Corda samples as classical and other demanding pianists use it not only to lower the volume of a soft passage but also to get the unique variation in tonal color. It’s not an effect that’s easily mimicked or modeled since the changes in tone come from physical factors of the real piano such as the different hammer voicing, the aliquot string effect of the non-struck string, as well as the special tone of the release trails due to the different vibrations in the strings.

The Una Corda tone on many grand pianos is naturally developed over years of playing, the hammers eventually get deeper more compacted grooves from normal playing and thus the shifted hammer will have a softer area in between grooves that hit the strings. On newer pianos though, the Una Corda is usually voiced separately which gives much greater control and consistency. The piano for our Modern D was set up for a full shift Una Corda but not so much that the hammer ends up striking in a normally struck area but still fully clears the first string. This allows careful separate voicing of the hammer between the grooves for a lovely soft Una Corda tone.

The Una Corda pedal is off and samples are unloaded by default. Click the Load button to load these samples for any mics currently loaded, the default pedal CC is 67 for soft pedal. Change the CC as needed, or use the ‘S’ Solo button to activate Una Corda if no pedal or other CC is used.

The installation instructions are included in the downloaded file. You need R2R Falcon to use this

P2P

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