Should you go for sample based or physically modelled? You’ll just have to try them and see.
I don’t want a real one because as keyboards they are hard work to play, so instead I guess I’m looking for that allusive feel and authenticity. It has to be down to the sound at the end of the day. I’m lucky enough to own the Arturia V Collection which includes the Stage-73 V that otherwise, when compared to the similar quality of the alternative offerings, seems really overpriced. I’ve also used pianos from SampleTank and Halion to great effect – but the five I’ve listed here are something a bit special. Although I do find myself trying out the vibraphone’s and Celeste as well when looking for that tinkly sound. I really like the electric pianos that come with Kontakt 5’s band section – they’ve always done me all right. There is a demo version to try which they say will move you to tears, from the Waves website. Waves Electric 88 is a standalone and plug-in running in VST/AAX/AU/RTAS formats for OSX and Windows. It comes with a load of presets and lots of room for finding the perfect sound. The controls vary how the various elements of resonators and vibrations interact giving Lounge Lizard a unique feel when editing. As you’re not dealing with samples the sound can be more or less infinitely variable. They are now up to version 4 and I should point out that the instrument includes physical models of both the Rhodes and the Wurlitzer piano. So instead of recording the sound of a piano they create a computer model of how sound is generated when a mallet hits a tine. Originally released in 2002 Lounge Lizard is based on physical modelling rather than the more common sample based emulations. The oldest, the grand-daddy of all virtual Rhodes is the Lounge Lizard from Applied Acoustics.
KONTAKT 5 PLAYER RESTRICTIONS SOFTWARE
Here’s my top 5 software recreations of the Rhodes electric piano, in no particular order. But sometimes when a manufacturer focuses on recreating the feel, heart and soul of this classic electric piano – whether Mark I, Mark II, stage or suitcase – magic can happen. And this follows on into software versions – it’s a standard sound. Pretty much every digital synth, keyboard workstation and sampler will have some kind of Rhodes electric piano going on. The classic tremolo of course, the phaser, chorus, wah and a delay are always popular. But it’s not just the physical glockenspiel-like vibration it’s the tonebar that picks up the sound and the preamp and amplification that give it the grit and variation that we’ve come to love. Hammers hitting strips of metal called “Tines” like a sideways vibraphone. There’s something in the way the sound is created. The most iconic performance for me is Ray Charles playing Shake a Tail-feather in the The Blues Brothers movie. Riders on the Storm by The Doors, Get Back by the Beatles, I’m Not in Love by 10cc and then much of Herbie Hancock and Stevie Wonder’s music from the 1970’s. Most of my experience of course comes through records it was used on. I have played one and as I recall the keyboard action was just horrible – really heavy to my soft synth hands – but the sound was sublime.
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