I like that mystical piano motif you did at the beginning.. I have a lot to learn. Highly impressed with the different mics on the mixer, and setting their effects.
Excellent job (playing and narrating). I have these through Play so not quite all the features but still learned a lot and enjoyed your introduction, explanations, and performances.
Although a very 'limited' piano player, this walkthrough has been immensly useful for me to write guides in my compositions, for much more experienced pianists to perform for me, whilst also allowing me to explore settings within Opus that I didn't know were already there! The humaniser was also a very useful tip. Thank you.
The part I like about the Bechstein is that the notes sound differently the harder you play them, making the instrument vastly more expressive. Even a real Yamaha grand key pressed double forte sounds fairly similar to pianissimo, albeit the volume is turned up. The Steinway has a character somewhat in between the two.
I must admit, I had composer cloud for a few years and played these a lot. I since ditched CC but these pianos are one of the few things I really missed. Loved your playing Ryan and also really appreciate the pace of the video. Lots of useful information. It is very tempting at this price :D
Very nice demo, Ryan, and very helpful. I just upgraded to Opus after my last orchestral project and this makes me want to swap out the Play instance with the piano in it to Opus and remix. I'm very happy with the Opus upgrade. The sample handling would have been very useful in my project that has 22 instances of Play, each with 4-10 instruments loaded. Thank you & EW for the demo and the excellent product line.
Hi, I already have the EastWest Boesendorfer and Steinway, for over one year now. But I had to Install it with the Play Engine. Is IT possible to use my license with the Opus Engine? Is it for extra payment?
Really enjoying these videos, Ryan. One question: are there any instances when you would use the internal reverb, or do you always use Spaces along with the dry samples?
I personally only use the internal when playing OPUS as a standalone just to play piano, the Spaces i like to route multiple instruments to so they sound like they are all in the same room
surprised with all of your high end studio equipment that you are using that no-weighted keyboard controller. If you are using a weighted keyboard controller would you suggest the linear sensitivity curve? Are the three mic positions only available in Platinum? I have gold and only have the Player mic option
I don't really write piano-based soundtracks very often--when I first started composing, I very quickly recognized it as a crutch, and so I tried to avoid it. I mostly use piano to sketch out parts that require more careful chord structure planning, and sometimes to support the orchestra, so a weighted keyboard would be a bit of a waste (I prefer unweighted for just about every instrument *except* piano). When I do need to write a piano based soundtrack--which did just happen for a recent job--I usually just use velocity compressors like the one I demo'd in the video. As to your questions, yes I'd recommend starting with a linear response curve if on a weighted keyboard and go from there, and yes all 3 mic positions are available with either the Platinum pianos or Composer Cloud Plus.
wtf, you are using a nektar impact and getting a good dynamic range... i have one and ALL piano libraries that i try sounds like an unplayable shit! if i switch to my roland fp 30 is other world
