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Acousticsamples.VTines.MK1.For.Falcon-PAP
https://www.acousticsamples.net/vtines

2021-11-26

SAMPLING MEETS MODELING


We have always had the idea that the future of virtual instruments was going to be
the sound quality of sampling but with the playability of modeling. Getting both
with only samples requires too many of them and only with modeling requires too much
CPU.

We found a way to combine both technologies by using samples as the sound source and
all the rest uses modeling techniques. This allows the V Tines to weight only 80Mb
(retina graphics and presets included), to really sound like a Fender Rhodesc with
all of its imperfections and to have a fully continuous response (if you're not
convinced, listen to the 127 velocity example in our video) as well as a highly
tweakable sound.

Pure Rhodesc sound, uncompromised playability
Our model is based on real samples of a 1978 Fender Rhodesc Mark1 fully restored
with clean pickups and tines, new grommets, new hammer tips, etc, so it is the best
an electric piano can sound.

Our model gives you access to a 100% continuous response, a very small sized library
(80Mb) and a very high tweakability.

It also ensures that the staccatos and releases that make up for half of the realism
sound perfect, not like a fadeout, not too loud, just perfect.
Front panel

You can mix the acoustic signal (we had a mic pair right over the rhodes capturing
the real acoustic sounds of the keys and tines) and the DI Electric signal.

The second concentric knobs, just like on a real suitcase rhodes control Treble and
Bass. We measured this carefully and made sure the ranges and frequencies matched
the original.

The vibrato (we talk about it more in depth below) has two controls, the depth and
the speed. We carefully measured the output of the preamp and copied the real output
of each channel. We also added a tempo link as it can be very useful. We also
extended the original range as this is a common mod on real Rhodes.

There are two very common FX accessible on the front panel: reverb and drive. You
can control their amount from here but if you want further adjustments, you need to
go to the FX page.

You can also engage the AMP simulation from the front panel. Again for further
adjustments, you need to use the AMP panel.

You can also use one of our presets from here as well as save and import yours.

Vibrato and front FX
We carefully measured the output of the preamp of a Rhodesc suitcase and created an
exact replica of the stereo panning of the Vibrato. We just added the possibility to
sync it to your tempo and also extended the speed range just like some real mods do.

The Bass and treble EQ are precisely adjusted to the frequencies and ranges of the
original preamp.

Pre 1969 Rhodesc only had a mono tremolo, so we added that option and you can get
that old school vibrato effect.

Suitcase AMP
Rhodesc are often recorded through the direct output, but the suitcase models have a
stereo amp that has a very recognizable sound with two 12' speakers facing the front
and two facing the back and each side.

We captured different microphone positions and distances to cover most of the real
life recording placements.

Our AMP simulation is true stereo, meaning that we have a very precise stereo image
which is extremely useful when the Vibrato is on.
AMP panel

There are 4 different microphone positions to choose from, Back, Front, Player,
Room, all these are relative to the Suitcase amp and the images shows where the mics
were placed. For each of them, you can control the amount of ambience and the
distance relative to the amp.

The AMP of a suicase is noisy, and there is no way around it, so we added an AMP
noise button so that you can get soe noise from the VTines.

As the Rhodes is sometimes recorded through the DI and through the amp as well, you
can control both amounts as well.

The tremolo is a stereo effect that is sent through the suitcase amp which is
stereo, the left side is driven by an amp and the right side by another. We modeled
that as well and you can hear that the vibrato put through the amp is not a simple
right left effect, but a complex true stereo effect that really shows the width of
the amp itself.

FX Pedalboard
Rhodesc pianos are often used with FX, so we created an FX panel with the most
common ones, each of them is one of the very efficient and high quality FXs made by
UVI.

Each FX can be tweaked in real time.
There are 8 FXs on the FX panel:

1- Chorus: based on Torus and you can control the Speed, Depth, Crossover and MIX of
it.

2- Phaser: based on Phasor and you can control the speed, the depth and the Spread.

3- Flanger: based on Flanger and you can control the speed, depth and Mix.

4- Wah: based on the WahWah fx and you can use a few different models, have it on
auto (by default) or control it using an expression pedal.

5- Delay: based on an Analog Tape delay and you can control the Time, the Feedback
and the Mix.

6- Rotary: based on the Rptary effect we used in the B-5 Organ. You can control the
Drum/Horn Balance, the Speed of the tremolo or set it to the 3 different speeds.
When it's on, it will bypass the Suitcase AMP.

7- Saturation: based on the same Tube saturation used in the B-5 Organ, you can
control the drive, the level and also the Bass and treble amount to somehow control
which frequencies will be saturated. When set to 0, it is bypassed.

8- Reverb: based on the convolution reverb, you can use wether a String reverb, a
plate reverb, or a real room ambience. You can control the time and the dry and wet
parameters. Plus you can also use it before the amp like on a live session, or after
as if you were adding it to a track in a sequencer. When set to 0, it is bypassed.

All of these fx come pre-amp except for the Reverb that can be set post-amp which
can be useful if you want to make it sound like it is often set up on records.

Precise adjustments
Modeling also means customization, you can alter the sound of the V Tines like you
would on a real electric piano and in a very easy way.

A real electric piano can be customized with a screwdriver, you basically adjust the
angle and distance between the tine and the pickup. It's exactly the same on the V
Tines, you just don't need the screwdriver.

You can adjust many different parameters for each note, for all notes or using a
mapper for each parameter.
Preferences panel

On this panel, you can adjust many parameters to shape the sound of the VTines. Here
is what each parameter does.

There are only two parameters that are adjusted for the whole library:

1- The pedal volume controls the volume of the sound made by the pedal when you
press and depress it.

2- The Bass tines pitch drift can be corrected. On a real rhodes, the torsion of the
long tines when you play them hard leads to a pitch drift which may make it sound
like it's out of tune. Piano tuners usually have to choose a velocity range to have
it in tune with the higher octaves. Since we are using a sample library, we decided
to offer the possibility to flatten that pitch drift and make sure it's in tune all
the time, no matter the velocity.

The rest of the parameters can be adjusted differently for each note. By default the
selection is set to note by note, and any change on the parameters will only be
applied to the most recently played note, but you can have it affect all notes, or
you can select note by note to modify the parameters using a curve.

a- The repetition control is an effect that happens only on pedal down. When you
repeat the same note over and over again with the pedal pressed, the notes don't
just stack up, but sometimes they get morte or less cancelled. We created an
accurate model of this effect and were abel to reproduce it. That control will
control the amount of that effect.

b- The tine heigth is the second component used on a real rhodes to voice it. The
height will completely change the tone and amount of overtone (or Bark). There is a
sweetspot described in the original Rhodes documentation that is right above the
pickup. This allows for the maximum of overtone without loosing too much of the
fundamental frequency. This is the main control over the character of a rhodes and
with this, it will sound mellower or thinner if you go to the extreme values.

c- Pickup Distance: The distance between the tine and the vibrating tine controls
mostly the overall volume of the corresponding note. This, just like on a real one,
will help voice the rhodes with more or less Bass and Treble at the note level. In
reality, it also controls changes the angle made with the tip of the pickup so it
influences the amount of bark and other parameters, but for the ease of use, we
limited that knob action to just the volume.

d- The Hi Vel Tone controls how much overtone there is in the highest velocity. The
Low Vel Tone controls how much overtone there is in the lowest velocity."

e- The Tone Bend controls the overtone increase with the velocity. For example, if
set at the minimum, there will be little overtone for most of the velocities and
then quickly increase to the maximum overtone.

f- The Dynamics button controls the volume of the lowest velocity allowing for a
greater or smaller dynamic range. It is set by default to the maximum range of the
real instrument.

g- Bell amount: The Bell is a known characteristic of the Rhodes pianos, you can
adjust how much of it there is in each note. Increasing it will also increase the
attack as the Bell plays an important part in the attack of a Rhodes. You can
compensate it with the attack knob if necessary.

h- Attack amount: You can control how much attack is present in the sound. This is
independant from the Bell sound, so when you increase the bell, you might want to
decrease the attack at the same time to compensate the increase.

i- Release Volume: The release is the the sound captured after the note is released.
That characteristic noise has been carefully adjusted to sound exactly as the one of
the original instrument, but you can control its volume.

j- Tune: Each note can be tuned separately.

MIDI Control
Every keyboard has its own MIDI response.

Our MIDI mapper allows to adjust the response of the V Tines velocity by velocity if
necessary, and we created a tool that does it automatically by analysing what you
play.

Just repeat a few linear velocity repetitions and it will be all set and ready to
play.
MIDI panel

We created a MIDI response mapper to allow you to adjust your keyboard response and
have the VTines respond just like you want.

If you know your keyboard response, you can draw it yourself and the smooth it out.

If you don't, you can use our automatic velocity detection. To use it, you can
simply:
1- press record, then play a few velocities and try to be as linear as possible from
the lowest velocity you can play to the highest that your keyboard can output,
2- then press record again and it will compute a compensated curve especially for
your keyboard.

To refine the process, you can do a few different successive takes before hitting
record again.

Requires: UVI.Falcon.v2.5.3.Incl.Emulator-R2R