Hi,
When playing ANY of the presets for the D4 in PT5, there is a strong hint of a W1 undertone in every note. It actually sounds less like a piano than it did in PT4, almost as if there is a constant W1 layer underneath.
Is this normal? It's not cool...
Thanks for any help you can provide!!
dgb
I would disagree with that assessment...
I'll bite - what the heck is a W1 undertone?
Greg.
Yeap.... What is a W1.....do you mean Korg ???
Sounds like some kind of troll if you ask me.
Yeap.... What is a W1.....do you mean Korg ???
He meant the Wurlitzer "Vintage Reeds W1", though I don't know what he is hearing ...
cakewalker wrote:Yeap.... What is a W1.....do you mean Korg ???
He meant the Wurlitzer "Vintage Reeds W1", though I don't know what he is hearing ...
Ahhaaaa.... I dont hear a Wurlitzer....i hear a nice Piano. a akoustik Piano....
I didn't like D4v4 very much, but D4v5 is my favorite v5 piano.
I didn't like D4v4 very much, but D4v5 is my favorite v5 piano.
Yes, D4V4 is Not my Kind of Pianosound, but D4v5 is Great. But the best is for me the U4. I Love the Atack of the U4. This is for me a real Piano....
I liked the D4 in 4.5, but its better in v5. All the pianos are better in v5.
The W1 could be https://www.pianoteq.com/electric
Changing subject a little (to avoid create a new topic)... What about vintage studio effects ?
I was a watching early Beatles performances for Roll Over Beethoven, and found that the effect used in the studio recording was interesting, giving a chorus effect and changing the voice too.
Compare the studio version in a lips sinc for a live show (with very few live audio overlay to the studio playback), with a pure live recording.
http://www.youtube.com/watch?v=0rLci6tPOtY
http://www.youtube.com/watch?v=LExuSagY0sI
Only George sings in this song, in contrary to what I believed before. His voice with no filter effect sounds quite grave in comparison.
I'm curious to know what kind of filter, trick effect was that.
When Elvis chaged from Sun Records to RCA they tried to recreate the eco effect of Sun studio, but had no idea how Sam Phillips did the effect. Sam's trick was something like pass the tape two times in a portion of the recording machine head, something like that.
It's all about (short) delays created by reading the tape on the "play" head, located about 2 or 3 centimeters after the "record" head, with or without modulation, + a lot of loss in the high frequencies at each delay - this was the effect of the limited tape bandwidth, more so at low speed. The modulation however is a little bit tricky: it was sometimes created by hand - literally - : it's been told that John was putting his hand on the flange of the tape (hence the word "flanger") to slow it down a bit, then released it.
Impressive explanation !!!
Are you a beatlemaniac or a soundmaniac ???
Am I correct to presume the archival tape masters had not such effect?
I heard that when they first start work to realease the Beatles on CDs, the remastered sound was not remambering Beatles, and they called George and other Beatle to help to get a more trusteable "Beatle sound".
Perhaps they were trying to recreate the original effect and get problems.
Interesting that in this Roll Over Beethoven, not just the delay, but also the voice tone, grave to trebble, it's altered, without the typical artificial pitch change that we get when change the speed of a tape record or LP disc.
The not lip sync live performance (second clic) in 0:18 we heard the mic was not good (low gain), and 0:28 George changed to another mic, and his voice got graver in comparison. If we pay attention, the first mic had some effect, similar to the studio recording.
Perhaps could be very interesting to recreate such vintage effects, to create more digital filters, for pianoteq. Some people use pianoteq in singing performances.
It's all about (short) delays created by reading the tape on the "play" head, located about 2 or 3 centimeters after the "record" head, with or without modulation, + a lot of loss in the high frequencies at each delay - this was the effect of the limited tape bandwidth, more so at low speed. The modulation however is a little bit tricky: it was sometimes created by hand - literally - : it's been told that John was putting his hand on the flange of the tape (hence the word "flanger") to slow it down a bit, then released it.
Well, you could tell I'm both: beatlemaniac AND soundmaniac.
In fact I just happened to make all corrections of a new book from a friend of mine about the Beatles (700 pages!!!) and also to supervise all the technical stuff in it.
Here it is:
http://www.camionblanc.com/?p=detail_livre&ID=745
An english version should follow soon...