The preparations in question involve the attachment and insertion of various objects and substances to the strings and spaces between them – including coins, putty, chains, metal bars and ping pong balls – and some unusual playing techniques: string scrapes, cross bar strikes, fingered harmonics, etc. You can also flip all samples into reverse at the click of a button, transform the tone with either of two amp sims or a graphite microphone convolution effect, and apply reverb and delay effects.Īt its frankly silly asking price, Haunted Piano is a must-have for any Kontakt user in need of naive, macabre horror-movie piano sounds for media or music production.Īdventurous LA session pianist Randy Kerber teamed up with Cinesamples to put together this 13GB Kontakt library, comprising three acoustic pianos that have been abused in all sorts of eyebrow-raising ways and muiltisampled at the swanky MGM Scoring Stage and Hollywood Scoring Studios. As well as that, 75 extraneous ‘noises’ have been recorded and keymapped – hinge creaks, thumps, squeaks, drops, key rattles and so on – extending the spooky potential of the core instrument beyond its already unsettling primary sound.Īs ever with RR, the scripted interface is relatively simple but plays to the strengths of the soundbank, in this case enabling transposition by +2/-3 octaves, adjustment of attack, decay and key noise (Key Clunk), and the introduction of random pitch modulation (Bad Tuning). Haunted Pianos sees Mongo and The Professor putting their edgy multisampling talents to work on a pair of toy pianos, capturing every note of each across three octaves, at three velocity levels and with two round robin sets. One of our favourite soundware developers, Rhythmic Robot have built up an extraordinary catalogue of intriguing and splendidly affordable Kontakt curios over the last nine years. The matrix can be randomised and manipulated in various ways, basic sound shaping controls and effects are onboard, and the upshot is a truly beautiful and utterly unique piano (and synth) instrument that conjures up unfailingly interesting textures and tones. Patterns and loops are assigned to voices in an 8x8 matrix interface, with up to five variations on each grid point, and triggered by held notes, stepping through the pattern rows with each note added to the chord. Weighing in at 15GB, Stratus centres on 17 main instruments (or ‘matrices’, to give them their proprietary name): four capturing the aforementioned pianos, and 13 built on samples of Arnalds’ Korg PS-3100 and Roland Juno-60 synths. A Kontakt Player library, it features a custom sample playback engine that emulates – and adds to – Arnalds’ ingenious computer-controlled dual self-playing-piano rig, which uses Euclidean algorithms to play note sequences based on chordal input. Moody soundtrack maestro Ólafur Arnalds has collaborated with Spitfire on a number of soundware projects, and Stratus might just be the best of them.
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