![]() ![]() If you were to play a loud note, it would be passed to Kontakt at a lower velocity. Convex takes longer for notes to become loud. ![]() Linear is the default and just maps incoming MIDI velocity 1:1. The curves are based around the idea that some keyboards are weighted differently than others, and typically they come in three varieties: linear, convex, and concave. Velocity curves alter the MIDI information before it’s passed to the sampler. Here’s what the piano sounds like without any humanization:Īnd here’s what it sounds like once some humanization has been applied: Velocity curves What sounds like relatively uniform volume throughout phrases, chords, and melody lines actually have very subtle velocity, timing, and length variations that give us the sense that the performance is real. Remember that a piano player never hits every note exactly the same. Sometimes, I even like to throw in wrong notes or grace notes at low velocities to simulate the player hitting just in between the keys. Even then, it can be beneficial to manually modify the values of certain notes to accentuate phrases. ![]() You’ll have to experiment with the two to see which works best for you. Even then, I apply a little bit of swing to give it a little groove.īoth of these methods work, albeit with subtly different results. The first involves playing the part live and then applying light quantization once I’m finished – something in the range of 25% – 30% strength. Over-quantizing leads to robotic and lifeless sounding MIDI, even if the performance is technically “correct.” There are two methods that I use to ensure that my piano playing has some life. First and foremost, you need to be careful with quantization. You need to get into the mind of a piano player while programming MIDI piano. HumanizationĪs with all virtual acoustic instruments, performance is crucial. This blog post mentions Splice Studio, which is shutting down on May 31st, 2023. A dna player for the final session is included at the bottom of this post so that you can splice it and experiment with the piano yourself. Keep in mind that MIDI programming and mixing is a cumulative effort – each step adds to the finished whole. The track we’ll be working with is “Wade in the Water,” a jazz standard originally written in 1901.īefore we start, let’s hear the finished product to get a sense of where we’re headed. I’ll be using Kontakt 5 and Native Instruments Alicia’s Keys for demonstration purposes, but most of these tips apply to any virtual piano. Today, we’ll be talking about how to get the most out of your piano samples. This is one reason why so many different piano libraries exist: they’re tailored for specific feelings, styles, or genres. No single mic setup is appropriate for every mix. Unfortunately, this also makes them a bit harder to sample than other instruments. It helps you understand concepts of stereo instrument micing and phase relationships, and provides a good example of instruments that span the audible frequency range. Illustration: Sofia Pashaei Recording piano is one of the most important skills that any recording engineer can obtain. ![]()
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