"The lutheal and the whole orchestra sounded great last night."
Jeffrey Sharkey, Director, Peabody Institute of John Hopkins University
"Having the Lutheal samples allowed us to restore Ravel's original sound concept. These samples allow the 'nail' stops to speak in full orchestra passages (intro to 'Fire') where a papered piano (Ravel's alternative) would be inaudible. The harmonic stops allow for the proper instrumental color for 'Mathematics' and more importantly, the 'Dragonfly' waltz, where their ethereal, other-worldly color fits the dramatic situation perfectly."
Teri Murai, Conductor at the Peabody Institute of the John Hopkins University
"I have been extremely pleased with all of your samples. The breadth and thoroughness of your work as well as your superb microphone and equipment choices allow me to hear how the museum instruments sound at this point in time and also allow me to cul out the sounds that I feel best represent the vision of the craftsmen that built them."
James Bonn, Steinway Artist
"I'm already in love with your Grand Piano which sounds truly marvelous"
Laurent Brancowitz, Phoenix
"This is the ONLY virtual piano that I find satisfactory and really appealling... I have listened to ALL the others by all the other manufacturers and can honestly say that none of them are remotely acceptable in terms of the overall sound aesthetic required to put forward artistic renditions of the standard Classical/Romantic piano repetoire. Your 1837 virtual Erard will fill a 12 month void (when my pianos will be in storage) very nicely."
"Ihre Samples haben mich schlichtweg umgehauen und nehmen allen anderen, die ich vorher benutzt hatte jegliche Daseinsberechtigung! Die Samples klingen dermaßen dynamisch, daß ich mit meiner Druckpunkt-Klaviatur wirklich das Gefühl habe, dass die (nicht vorhandenen) Saiten mit Kielen angerissen werden. Das Hitchcock-Spinett klingt schön warm, voll und dunkel, das italienische Cembalo (Italian Harpsichord II) dagegen schön trocken, grundtönig und mit kurzem Sustain, also genau richtig für 'Alte Musik' (z.B. Virginalbücher)."
"Gratulation nochmals zu einem wirklich gelungenen Produkt, das auch nach Klavier klingt! Die Ästhetik erinnert ein Bisschen an Gonzales mit dem Album Solo Piano."
Diego Baldenweg, Great Garbo Music
"I have installed the Stein fortepiano samples and I like them very much. Mozart wrote that he preferred Stein's pianos to those made by Anton Walter, partly because the damping was so good. When he stopped playing, the piano stopped sounding, which he liked. Your release samples (if you haven't modified them) show exactly what he meant. Thank you, again, for supplying these interesting samples."
"Just loaded the Dulcitone piano, and am playing around with the sounds. Have to say, it's great - everything I'd hoped for, full of character and 'real life'. I'm currently working on a 6 part series for the BBC, concerning Stalin and the Cold War and I already know of several places where the Dulcitone is going to make certain cues absolutely come to life. Great stuff!"
Alasdair Reid, composer
"These Dulcitone sounds are so sweet. Thanks for providing all the separate presets. Can't wait to get started using them in my music. Keep up the great work!"
"Ganz ehrlich: Ich finde sie einfach wunderbar. Das ist der Stoff, wie ich ihn liebe, ungleichmäßig und unberechenbar wie das echte Leben. Und das Schärfste sind die Nebengeräusche pur!!! Mit denen zusammen erwachen sogar die null-acht-fünfzehn Highendpianosamples der großen Libraries fast zum Leben, es geschehen noch Zeichen und Wunder."
Lars Kurz, Tonstudio1
"The Celesta is FANTASTIC, really astounding. Thanks for all your hard work on this, and congratulations! It feels like a real secret weapon :-)"
"Vielen Dank für die Dulcitone Samples. Sind echt schön und wunderbar einsetzbar."
Rainer Oleak, Komponist
"I'm really enjoying the Celesta! Great sound and detail."
"The harpsichord samples are amazing - a great sounding instrument recorded beautifully. It brought an openness to the songs that I wasn't able to get with any other instruments, really added another dimension."
"The samples arrived yesterday and I got to test them out a little last night - they are fantastic - you did an excellent job with them. :)"
"Your Dutch harpsichord library I bought has been amazing."
"I'd like to thank you for providing the Dutch harpsichord, I love its sound, it's sweet and very rich. Often the high frequencies in harpsichords can be a bit aggresive, but with this instrument and your sampling job, the atmosphere is really enjoyable."
"I just wanted to write a brief thank you for your helpful emails. To experience this instrument in its transmigrated form has been truly miraculous! Not only in the sensuous delight of its pure-unaffected tone, but the rich imagery it conveys in the space that surrounds it. To think, from my industrial city where remains my tiny living quarters, I sit with closed-eyes, playing in a palace antechamber; mythological frescoes and marble ornaments abound - an entire world in musical history which only permitted the privileged few, until now.
Thank you for making this discovery possible."
The superb sound quality and realistic performance capabilities of the realsamples libraries allow anyone with a decent computer-keyboard setup to explore the performative, conceptual, and expressive implications of historical music according to the sound worlds of its time. realsamples has done for the harpsichord, fortepiano, and their keyboard cousins what Hauptwerk has done for the organ - to bring actual historical instruments into one's living room or studio, allowing for more powerful and meaningful connections to music of the past. As a composer and pedagogue of 18th-century music, the realsamples library has been and will continue to be an invaluable resource.
Vasili Byros, Assistant Professor of Music Theory and Cognition, Northwestern University
(Weitere Informationen: Artikel von Vasili Byros im MTO Journal mit Audio-/Videobeispielen)
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