Quote:
Originally Posted by Pixelshock
Just noticed this thread after someone resurrected it.
I don't get this "omg! It's a Kontakt piano and everyone has it so now it sucks." I have a Les Paul. So does half the guitarists out there. I'm not throwing it out the window (unless I'm tied to it). Every artists has access to the same paint at the art store. That doesn't mean you have to go find another Red that nobody else has to make a decent painting. It's about what you DO with it. Besides, if you can't stand the sound of it as is, just run another filter on it with a subtle effect. Ker-Blam! New piano.
And here's the bottom line: Go ask 5,000 random people what kind of Piano that is. None of them will know. And NONE of them will say "OMG! It's a default Kontakt piano!" They will all say "Um, it's a piano."
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indeed.
that said, i understand though the desire for a signature sound. but like you said, you can get that from how you process your sound. heck, you could layer two piano VSTis on top of each other even.
you make a piano that doesn't even exist in the real world. it's actually more flexible i think that a real piano in terms of variety of timbres possible.
i mean ya, you can mic a piano a certain way, but there are quite few models of real piano used in the majority of recordings i think.