That's really interesting to hear, and I know exactly what you mean about the Billy Joel 'Always a Woman' piano intro - that tone, character and aliveness is hard to emulate with any sampled piano. Always admired the piano sound Billy's producer Phil Ramone captured on 'The Stranger' album which that track was from, but thought the piano they used on that album was a Baldwin concert grand. Not sure, but it's a huge, resonant sound I really like.
Ah thanks ,that Billy Joel piano has many similarities to the hammer mics in the Embertone + the resonance... i thought it was a Steinway.
I must say that the Embertone does not sound like a new Steinway though.... and Steinway over the last century ( both Hamburg and New York) have such varying exemplares soundwise....
The Embertone Walker D has a tone & character unlike any of the other (90+ would you believe) sampled/virtual pianos I own. The closest sonically to my ears would be the Cinesamples Piano in Blue (not surprisingly, the same Steinway D, but from 1949). I only have the Lite version of the Embertone Walker D, but my first impression was of it being a more detailed version of Piano in Blue, with that same clear hammer attack & complex swirling harmonics & sustain. I've been considering upgrading to the full version, and adding the hammer mics (the clarity of which really appealed to me in the demos). I am concerned about the pedalling & performance problems detailed here and on VI Control, and the promised update is still a work in progress it appears.
I also happen to have the CinePiano which sounds great, but itâ€™s a bit jumpy in some velocities.
I donâ€™t know how many velocity layers the Embertone light has, but in the full version i use all 36 layers.
Itâ€™s definitely enhancing the dynamics of the Embertone.
Yes it doesnâ€™t play as smooth as the Garritan CFX with the better pedal behaviour.
But i didnâ€™t have the experience as some others that the playability was bad.
Compared to some other libraries it plays pretty good and I use a Kawai MP11SE and have no problem playing the Embertone from that keyboard.
But i suppose that a demanding classical repertoir requires something else.
Which i always find a bit amusing.
Two weeks ago i played a brand new Steigraeber C-212 and BÃ¶sendorfer Imperial, Yamaha S6 ( second hand) and the new Bechstein B-212 .
Besides their haunting real sound, the action was able to perfectly execute up to the smallest details imaginable.
I fully onderstand money issues and a certain limited environment at home , but if i were to play a demanding classical repertoir i would try to play on A catagory grands if it were remotely possible.
The Yamaha N3x is a slap in the face by comparison.
It was a long time when i played an S6, but all what you are missing in the Yamaha Avant grand series immidiatly presented itself at the very first passage on the S6.
I know most sampled versions of an S6 ( most Yammy digitals have also a S6 onboard) they never come close to the real thing.
It was an eye opening experience how good an S6 actually plays and sounds.
Sorry for the derailment, but i do not use piano vstâ€™s to mimic the experience of a real grand....it would frustrate the heck out of me.