UVI Soundbank Attack EP88 v1.1.3 [Falcon]

 
TACKED ELECTRIC PIANO
附加电钢琴

World’s first tacked electric piano library
世界上第一个电子钢琴图书馆

Massively customizable;
大规模定制;

5 signal sources, over 47,000 samples
5个信号源，47000多个样本

3-bus architecture with per-note voicing and tuning control
3总线架构，每个音符的声音和调谐控制

Tack Piano
策略的钢琴

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.
“大头钉”钢琴是一种预先准备好的钢琴，最常见的是在声学立柱上，在这个例子中，每个琴锤都有一个黄铜大头钉或金属装置安装在槌子和谐振器上或之间。

The sound is most definitely still piano but the initial attack phase is accentuated, it’s more present, with a resonant metallic brilliance.
声音绝对还是钢琴的，但最初的攻击阶段被强调了，它更有现场感，带有一种共振的金属光辉。

As it turns out this preparation is quite exceptional on electric piano.
事实证明，这种准备在电子钢琴上是非常特别的。

The tonal character is almost bell-like in quality, giving a completely new perspective and life to the classic electric piano sound.
音质上的音色几乎像钟一样，给经典的电钢琴声音带来了全新的视角和生命。

APPROACH
方法

Origins
起源

Attack EP88 begins with a perfectly restored 88-key Rhodes Mark I prepared with a brass tack on the striking surface of each hammer.
攻击EP88开始于一个完美修复的88钥匙罗兹马克我准备了一个黄铜钉在每个锤的打击表面。

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.
这个项目的目标是在这个仪器周围建立一个完整的虚拟工作室，允许用户定制和探索他们想要的时间和方式。

Doing this properly requires a number of sound sources and quite extensive recordings of each.
要做到这一点需要大量的声源和大量的录音。

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.
在整个过程中，从设备选择到最终编辑，从UI和预设设计到装配，都高度关注质量和细节。

Immaculate Detail
完美的细节

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.
对于声学信号，我们使用了一对立体声的Bruel和Kjaer麦克风，单声道位置的Neumann U67和直接连接在齿上的接触麦克风每键录音。

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.
对于每个注释，每个源记录8个速度和多达5个循环循环，以及维持和释放样品的5个循环循环。

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).
对电源进行了3次测试，每一次都包含声音(锤子上的钉头位置被改变，导致颜色从深变薄)。

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.
另外还录制了踏板向上和向下的声音，这是为单声道、立体声、接触和DI信号做的，每7个循环知更鸟。

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.
这个过程的结果是一个超过47000个样本的工作基地，一个真正巨大的图书馆，美丽地捕捉到钢琴最微妙的细微差别。

INSTRUMENT
仪器

The next task was to distill this enormous sample complexity into a focused and easy-to-use instrument.
下一个任务是将这个庞大的复杂样本提取成一个有重点且易于使用的工具。

Attack EP88’s audio sources are routed internally via three busses, one for the contact mic, one for mono and stereo mics, and one for the DI and tube channels.
攻击EP88的声源通过三个总线在内部路由，一个用于接触麦克风，一个用于单声道和立体声麦克风，一个用于DI和管通道。

Each bus is equipped with a number of useful mixing tools including envelopes and effects, making it easy to dial in particular sounds or explore new ones.
每辆巴士都配备了一些有用的混合工具，包括信封和效果，使它容易拨号特定的声音或探索新的。

The user interface was carefully designed to make editing these signals as simple as possible, with acoustic sources at the top of the UI and electric at the bottom.
用户界面经过精心设计，使这些信号的编辑尽可能简单，声源位于UI顶部，电源位于UI底部。

The acoustic busses are equipped with a 3-band EQ, Dual Delay and Sparkverb, and the electric bus with distortion, the 8-voice Thorus, phaser, Dual Delay and Sparkverb.
声学巴士配备了3波段均衡器、双延迟和Sparkverb，而电动巴士则配备了8声Thorus、相位器、双延迟和Sparkverb。

Full control of these busses is made across 3 pages, Main, FX and Settings.
这些总线的完全控制是通过3个页面，主要，FX和设置。

A fourth and final page provides per-note control of voicing (each of which represents an entirely unique sample set per-source) and per-note control of tuning.
第四页，也是最后一页，提供了每个音符的声音控制(每个音符代表一个完全独特的样本集，每个源)和每个音符的调优控制。

Attack EP88 comes with 70 expertly designed presets which quickly display its fantastic detail and extraordinary sonic breadth.
攻击EP88配备了70个专业设计的预设，快速显示其奇妙的细节和非凡的声波宽度。

These can be used either as ready-to-play configurations or launchpads for near-endless exploration.
它们既可以作为现成的配置，也可以用于无尽的探索。

Unlike Any Other
不像其他

Attack EP88 is an easy-to-use yet brilliantly deep instrument, one most people aren’t likely to quickly exhaust.
Attack EP88是一款易于使用但深度极佳的仪器，大多数人不太可能很快耗尽。

Providing everything from basic DI setups to rich and elaborate multi-channel configurations with custom envelopes and effects, Attack EP88 provides an extreme versatility, musical quality and immediacy that make it both a joy and inspiration to use.
Attack EP88提供了从基本的DI设置到丰富和复杂的多通道配置与自定义信封和效果，攻击EP88提供了极端的多功能性，音乐质量和即时性，使它既快乐又灵感的使用。

Features
特性

88-key Rhodes Mark 1 prepared with brass tacks
用黄铜钉准备的88把罗兹马克1号钥匙

5 discrete and fully mixable signals (DI, tube, contact, mono and stereo pair)
5个离散和完全可混合的信号(DI，管，接点，单声道和立体声对)

Internal signal routed via 3 busses (contact, mono and stereo, and DI and tube)
内部信号通过3总线路由(接触，单声道和立体声，DI和管)

Independent envelopes and effects per-bus (including Thorus, Dual Delay and Sparkverb)
每个总线独立信封和效果(包括Thorus、Dual Delay和Sparkverb)

8 velocity layers and up to 5 round-robins per-mic, per-note
8个速度层，每个麦克风，每个音符最多5个循环

Pedal-up, pedal-down and key noise recordings (7 round-robins each)
踏板向上，踏板向下和关键噪音录音(每个轮知更鸟7只)

Contact mic recordings made per tine
联系麦克风录音每分钟

Per-note voicing control (3 tack positions recorded, per-signal, per-note)
每个音符的语音控制(每个信号，每个音符记录3个粘连位置)

Per-note tuning control
每个便笺上优化控制

Intuitive and easy-to-use interface
直观和易于使用的界面

70 presets
70年预设

47,000+ sample library, losslessly streamed for speed and efficiency
47000 +样本库，无损流的速度和效率

Flexible licensing supports 3 concurrent authorizations
灵活的许可支持3个并发授权