Little extras, like a vibrato that sets in if a note is held for X samples (or just triggered by sustain)? And maybe a slow, slight drift that applies additionally to volume or pitch. So far I haven’t noticed a polyphonic Sample based Player in VCV yet. No idea how much CPU that’d eat and if its feasible at all. If Polyphony is an option on a sample based player, that’d be nice. From 12 on go for “Felt” options… with softer curves and reduced voltages… Like all envelopes below 9°° have the same short attack time, but shorten the decay, from 9 to 12 this could repear but impact sustain. If possible an internal Envelope that is set up for the samples… and controlled by A and D knobs. Ideally the module would feature some shaping options. Kontakt is frigging expensive and so are its libraries… and neither are a sound reason to dismiss Module solutions. The Samples could have some room, body, color, timbre… geared towards playability. The Piano is cool to have and frankly the only of its kind… but at this point I think a Module with Samples that its optimised for… could easily do a better job. What I noticed in the odd 15 minutes of trying is: it is not a Piano module, but a simple soundfont player.
#Take on me unplugged piano professional#
And I have tried EssEff after posting here to see how much work it’d be to give it a similar feel to a professional Kontakt Library. What I didn’t say was: yes there iare good reasons to port classical/traditional Instruments to VCV. My reply was geared towards using EssEff. Here’s an example that does NOT take the extra mile and only modulates Velocity. I admit, its some work to play a Piano in Rack. Getting a Mute between Trigger and VCO that can be triggered from time to time adds natural breaks. So VELO, ADSRH, DELAY - your actual step sequences run into the CLOCK input of grayscale for example (SoC triggers maybe… ? A seldom Repelzen Burst for triplets and other kinds of quick movements. 2 gets a chance to be delayed some steps and a hard attack etc. Using Grayscales dedicated outputs for example, to make sure that a certain order is kept intact (Step 1, 5 and 7 get probability on sustain, 1&5 with high velo, 678 with lower velo, each deviating from the other. To return to Triggered Switch: this is one way to simply bind key modulations to a specific trigger. Use all the channels of your Seeds of Chance and maybe even expand on the CV outs… then its 1 source doing all modulations in a restricted, related frame of randomness.Ĩ Face on gardener is a good idea - just put 8 movements together and watch it run for ever with neither repetition nor crass deviation.
Using 4 Instances of Monophonic Modules and Probably Note Quantiser with its Chord extension (and a copy without extension… maybe switch?) you can get a shitload of movement.
Try MLs Triggered Switch to set up coherent Variations of Modulation (Velocity, Envelopes, Damping, Vibrato)… just to add some dynamics.įor generative Piano Sequences I highly recommend working with Seeds of Chance and The Gardener. So you need multiple instances of ESSEFF and split the vOct… might skip Tails depending on Scenario.Ģ. This way you can hold a note indefinite and play triplets at an interval all while a generative sequence adds some random hits in-between.ĮDIT: I remembered it wrong… it sends poly vOct from mono vOct. It will stack your piano into polyphonic channels when new notes are played while the last one still plays out. 1: Check out “Tails” - this will be your biggest helper for making the piano act like one.
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