拼接电钢琴
全球首款拼接电钢琴音色库
高度可定制；5 个信号源，超过 47,000 个采样
3 总线架构，支持每个音符的发声和调音控制
Attack EP88 是全球首款拼接电钢琴音色库，或许也是迄今为止最全面的电钢琴音色库。Attack EP88 以超过 47,000 个采样为基础，音色极其丰富，可深度定制，提供多种独立信号路径，包括 DI、电子管、接触式麦克风、单声道麦克风和立体声对，独特的电信号和原声信号包络和效果，以及所有 88 个琴键的独立发声和调音控制。Attack EP88 是同类中独一无二的音色库，它以我们所能想象到的最用户友好、最全面的方式，为备受喜爱的电钢琴音色带来了全新的诠释。
钉钉钢琴
"钉钉钢琴"是一种预制钢琴，最常见于立式原声钢琴。正如本例所示，每个琴槌的琴槌和共鸣器上或之间都安装了黄铜钉或金属装置。其声音依然是钢琴的原声，但最初的起音阶段更加突出，更具临场感，并带有金属的共振光泽。
事实证明，这种预制技术在电钢琴上非常出色。其音色几乎如同钟声般悦耳，赋予了经典电钢琴音色全新的视角和生命力。
方法
起源
Attack EP88 的创作始于一台完美修复的 88 键 Rhodes Mark I 电钢琴，每个琴槌的敲击面上都安装了黄铜钉。该项目的目标是围绕这台乐器打造一个完整的虚拟工作室，让用户可以随时随地进行自定义和探索。要做到这一点，需要大量的音源，并对每个音源进行大量的录音。从设备选型到最终编辑，从用户界面 (UI) 和预设设计到组装，我们始终对质量和细节给予极致的关注。
UVI Attack EP88 | 乐器
完美细节
对于原声信号，我们使用了一对立体声 Bruel 和 Kjaer 麦克风、一支 Neumann U67 麦克风（单声道），并使用直接连接到音叉的接触式麦克风进行单键录音。每个音符都录制了 8 个力度和最多 5 个循环采样，同时为延音和释音采样录制了 5 个循环采样。对于电音源，我们进行了 3 次录音，其中 3 个音色（音锤上的音栓位置会发生变化，导致音色由深变薄）各录制一次。我们还额外录制了踏板踩下和踩下的声音，单声道、立体声、接触式麦克风和 DI 信号均进行了 7 次循环采样。该过程的结果是一个包含超过 47,000 个样本的工作基础，一个真正庞大的库，可以完美捕捉钢琴最细微的差别。
TACKED ELECTRIC PIANO
World's first tacked electric piano library
Massively customizable; 5 signal sources, over 47,000 samples
3-bus architecture with per-note voicing and tuning control
Attack EP88 is the world's first tacked electric piano library and possibly the most comprehensive electric piano library of any kind. Built on a foundation of over 47,000 samples, Attack EP88 is an incredibly rich sounding and deeply customizable instrument, providing numerous discrete signal paths including DI, tube, contact mic, mono mic and stereo pair, unique envelopes and effects for both the electric and acoustic signals, and discrete voicing and tuning controls for all 88 keys. The only library of its kind, Attack EP88 delivers an entirely new take on the much-loved electric piano sound, in the most user-friendly and comprehensive way we could imagine.
Tack Piano
A 'tack' piano is a form of prepared piano most commonly seen on acoustic uprights where, as in this example, each of the hammers has had a brass tack or metal device installed on or between the mallets and the resonators. The sound is most definitely still piano but the initial attack phase is accentuated, it's more present, with a resonant metallic brilliance.
As it turns out this preparation is quite exceptional on electric piano. The tonal character is almost bell-like in quality, giving a completely new perspective and life to the classic electric piano sound.
APPROACH
Origins
Attack EP88 begins with a perfectly restored 88-key Rhodes Mark I prepared with a brass tack on the striking surface of each hammer. The goal of the project was to essentially deliver an entire virtual studio built around this instrument, allowing users to customize and explore it when and how they want. Doing this properly requires a number of sound sources and quite extensive recordings of each. Throughout, the utmost attention to quality and detail was made for everything from equipment selection to final editing, from UI and preset design to assembly.
UVI Attack EP88 | Intrument
Immaculate Detail
For the acoustic signals we employed a stereo pair of Bruel and Kjaer mics, a Neumann U67 in the mono position and per-key recordings with a contact mic attached directly to the tine. For each note 8 velocities and up to 5 round-robins were recorded per-source, along with 5 round-robins for both the sustain and release samples. This was done 3 times for the electric sources, once for each of the 3 included voicings (where the tack position is shifted on the hammer, resulting in changes of color from deep to thin). Additional recordings were made to capture the pedal-up and pedal-down sounds, this was done for the mono, stereo, contact and DI signals with 7 round-robins for each. The result of this process was a working base of over 47,000 samples, a truly massive library that beautifully captured even the most subtle nuances of the piano.
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