亚当·门罗（Adam Monroe）的Mark 73 Electric Piano是从1976年的Rhodes Mark I舞台钢琴采样而来。整个键盘都包裹在锡箔纸中，从而消除了EMI噪声。罗得岛通过Radial Pro 48 DI盒进行了DI采样，并将信号发送到Fender Deluxe混响放大器，并通过AEA R84带状麦克风和AEA TRP前置放大器进行了相对干净的记录。
73音符的Rhodes钢琴的每个音符都以10个速度层采样了3次。对于DI信号和放大信号在发行版中进行采样，但是AMP发行说明听起来有些不合时宜，因此决定只包括DI发行版。在Famp Reverb Deluxe中，即使没有信号，Famp Reverb Deluxe还是一个嘈杂的放大器，可以在放大器样本中听到放大器的声音。通过比较，DI样品相对干净。
这款特殊的Rhodes Piano相对来说是调子，但为了使每个音符的气质变化为-2 +2分，必须对某些音调进行后期处理。 Rhodes Piano的“ bass boost”旋钮设置为1，而volume旋钮设置为9。虽然均衡了一个音符以使其与其余音符吻合，但乐器自然发声，没有eq调整。 。
对于每个音符，必须手动仔细调整两个信号的相位，因为安培信号明显落后于DI信号。放大器上的设置是高音：5低音：5.放大器信号的音调略有侵略性，因此DI信号更温暖饱满。样本是16位，44.1 kHz WAV文件。
该插件包含内置的Tremolo，但是可以通过独立的tremolo插件微调参数。通过利用颤音，失真，移相器，合唱，哇音和AMP + DI通道，可以实现从Air到Steely Dan的各种经典Rhodes Piano音色。我们已尽力打造经典的Fender Rhodes钢琴的精确复制品。这不是仿制的乐器，这是罗兹钢琴的真实声音！
Adam Monroe’s Mark 73 Electric Piano was sampled from a 1976 Rhodes Mark I Stage Piano. The entire keyboard was wrapped in tinfoil, which eliminated EMI noise. The Rhodes was sampled DI through a Radial Pro 48 DI box, and the signal was routed to a Fender Deluxe Reverb amp, recorded relatively clean through an AEA R84 Ribbon Mic and AEA TRP Preamp.
Each note of the 73-note Rhodes Piano was sampled 3 times at 10 velocity layers. Releases where sampled for the DI signal as well as the amped signal, but the amp release notes sounded a bit out of place, so the decision was made to only include DI releases. The sound of the amp can be heard in the amp samples, as a Fender Reverb Deluxe is a noisy amp, even without a signal. The DI samples are relatively clean by comparison.
This particular Rhodes Piano was relatively in-tune, but some post-processing re-pitching was necessary in order to bring every note into a -2 +2 cent variance of equal temperament. The “bass boost” knob of the Rhodes Piano was set to 1 and the volume knob was set to 9. The instrument was left natural sounding, without eq tweaking, although one note was eq’d in order to make it fit with the rest.
The phase of the two signals had to be carefully adjusted by hand for each note, as the amp signal significantly lagged behind the DI signal. The settings on the amp were treble: 5 bass: 5. The amp signal has a slightly more aggressive tone, well the DI signal is warmer and fuller. Samples are 16 bit, 44.1 kHz wav files.
The plugin contains built-in Tremolo, but the parameters can be fine-tuned via the standalone tremolo plugin. By utilizing tremolo, distortion, phaser, chorus, wah, and the AMP + DI channels, a wide range of classic Rhodes Piano tones can be achieved, from Air to Steely Dan. We have done our best to create an accurate reproduction of the classic Fender Rhodes Piano. This is not a modeled-tine instrument, this is the real sound of a Rhodes Piano!
Some simple linear distortion was added to the VST and Kontakt (depreciated 2.10.2020) versions, as well as some built-in reverb, phaser, chorus, and wah effects. A smooth knob was added to dial back some of the harshness of digital linear distortion. The Kontakt version of Adam Monroe’s Mark 73 Electric Piano is is now depreciated (2.10.2020). The VST, Audio Unit, and AAX versions are programmed entirely by AdamMonroeMusic. The goal in any sample library that is also a VSTi (virtual instrument), AAX, or AU plugin is to attempt to match the performance of the Kontakt Player. With this library, we feel like we have done just that.
The VST, AU, and AAX versions include updated, high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even in lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is comparable to the Kontakt version – around 390MB . Because of the solid VST, AU, and AAX code base, you can be confident that the VST version will work just as well as the Kontakt version.
Why develop a VST, Audio Unit, or AAX version at all? Although a great piece of software, the Full version of Kontakt (required to run 3rd party sample libraries) is expensive. Developing a VST, Audio Unit, or AAX version that anyone can use does not add significant time to the development of a Rhodes Piano library – most of the time is spent sampling and processing the samples – so it’s a real no-brainer.
Audio engineering is a large part of creating a VST, Audio Unit, or AAX plugin but the sounds of this Rhodes Piano library has barely been processed. No eq tweaks were made, as the tone can be shaped dramatically by blending between DI and amp signals. Adding distortion, even a small amount, can significantly drive the gain and presence of the signal.
This plugin now includes great-sounding, real-time, automatic sample-rate conversion through cubic interpolation supporting sample rates of 44.1, 48, 88.2, and 96 kHz.
– Range From E1 to E7
– DI And Amp Signals, Reverb, Distortion, Tremolo, Chorus, Phaser
– 9GB of Sample Data
– 3X Round-Robin, 10 Velocity Layers
– Supports 44.1, 48, 88.2, and 96 kHz
Release v2.0 2/10/2020 *********************** Improvements since last version: *Mac Au/VST versions now conform to OS X Catalina code signing and notarization requirements. *Mac versions are now installed via package installers. *Resources for Mac versions and a config file are now placed outside of the amhonky.vst and amhonky component bundles. This is because Apple wants things code-signed now: verifying resources in a bundle would take too long and the config can’t be inside because it would invalidate the code signature. If you don’t like it, complain to Apple! *Maintaining separate legacy (32-bit) Mac versions for those who need them (OS X 10.9-10.14) New Features: *Added built in Tremolo (From Adam Monroe's Tremolo) and built in Delay, Phaser, Chorus, AutoWah, and Tone knobs. *Made smooth switch a variable knob. *Added 40 or so presets.