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Indeed, it's not me (duh!). I was kinda familiar with the Ravenscroft VST instrument but the tone of the piano was not what I wanted. This Asian guy made his own settings (which you can download) and now it sounds great. It really is a big difference.

 

ravenscroftscreen4.jpg

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Sorry Alex, this thread is too inclusive and centralized...could you post this in the relevant "Piano Samples With Dedicated VST" thread? (not to be confused with the "First Party Piano Sample Libraries Contained Within Sampler VST", "Third Party Piano Sample Libraries Contained Within Sampler VST", or "Piano Samples Used In Film Scores" threads)

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  • 1 month later...
  • 3 weeks later...
  • 2 weeks later...

- I just wish he didn't use so much effects on his piano.

- If you have tinnitus, don't play synthesizers, play the piano.

 

 

 

 

 

 

 

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4 hours ago, Stefancos said:

Judas!

I don't believe you. You're a liar.

 

 

 

4 hours ago, Stefancos said:

"I don't give interviews", he says...in an exclusive interview... :lol:

 

 

 

4 hours ago, Stefancos said:

He's the new Bob Dylan, in reverse!

Play it fucking soft.

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Vangelis doesn't like giving interviews, he doesn't like doing live gigs. That was all fine and dandy in the seventies, when it was all about the music, but these days? I hear he's more into painting now.

 

 

VangelisPaintingsBookPage077B.jpg

 

VangelisPaintingsBookPage147B.jpg

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Aww what is he, shy? If we can get a picture of Julia Roberts in a thong we can certainly get an interview with this weirdo. Put an ad on the front page. "Cash money for an interview with Vangelis". He doesn't want to be famous? I'll make him infamous!

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Didn't know where else to post this, but here's my pocket review of DON'T COME BACK FROM THE MOON by Johnny Jewel -- one of the best scores released this year; deliciously electronic:

 

http://celluloidtunes.no/dont-come-back-from-the-moon-johnny-jewel/

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On 3/26/2019 at 11:46 PM, Alexcremers said:

 

A superb sounding sampled piano, I must say. Great for TV & film scores.

 

I use their Grandeur Piano, I'm a big fan.

 

On a related subject, I would like to say how heartwarming I find it when I see freeware VSTs. Some of them are really powerful and capture what I want just as much as a big-studio $$$ VST, but are small, and usually have a very cute, quaint kind of scrappy GUI...all usually done by a dude somewhere. It's the kind of thing people hoped the Internet would be, back in the 90's. 

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I think one can get to occupied with exploring and collecting VSTs. There are literally thousands and thousands of them. In the days of hardware, there were no free synths and effects. We just used what we had (or could afford). And having only a few pieces of gear meant you got to know them well. 

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28 minutes ago, Alexcremers said:

I think one can get to occupied with exploring and collecting VSTs. There are literally thousands and thousands of them. In the days of hardware, there were no free synths and effects. We just used what we had (or could afford). Having only a few pieces of gear meant you got to know them well. 

 

You bring up a valid point, but gearheads --or perhaps more accurate in the vernacular of music forums, gearsluts--can exist in many varieties. Especially in an age where modular synths have become more common, I know several people who plop down paycheck after paycheck to get the next little expansion to their setup. This behavior has been around for a _long_ time, governed by the idea, "If I just had _this_, my music would be so much better!" It's an attempt to fill what we consider to be a deficiency in ourselves with an external...of course, by no means is it limited to music.

 

There's a story about Django Reinhardt, where after he performed one night a young musician approached him and said something to the effect of, "Mr. Reinhardt, I would love to have your guitar! If I had it I don't even know all the kinds of things I could play!" Reinhardt responded by handing his guitar to the young musician: "Okay, kid, here you go, now play."

 

All this said, I do acknowledge it's easier to scoop up VSTs than it is hardware, for obvious reasons, but I'm wary of painting it more as a strict hardware vs. digital issue. And ultimately, what I was getting at was I find it really touching that individuals have been out there for years, making excellent--and some not-so-excellent--VSTs available for musicians around the world for free. There's oftentimes a charm to them, be it through a strange limitation or a quirky looking GUI, that you won't find from the major players.

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37 minutes ago, Nick Parker said:

 

You bring up a valid point, but gearheads --or perhaps more accurate in the vernacular of music forums, gearsluts--can exist in many varieties. Especially in an age where modular synths have become more common, I know several people who plop down paycheck after paycheck to get the next little expansion to their setup. This behavior has been around for a _long_ time, governed by the idea, "If I just had _this_, my music would be so much better!" It's an attempt to fill what we consider to be a deficiency in ourselves with an external...of course, by no means is it limited to music.

 

 

 

Your friends still needs to save up until they can expand their setup while I can download VSTs anytime I want. The risk for them to get lost in a jungle of gear is still small.  Of course, I can only speak of my experience, but in my day, only Vangelis or Jean-Michel Jarre could afford to be gearheads or own a studio full of electronic gear. We mortals were forced to sell our gear before we could buy the latest synth. Today everyone can buy a Lexicon reverb but a few decades ago it was just as expensive as a new car. 

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  • 2 weeks later...

I'm waiting on an EMU Proteus 2000, and I'm really excited! I'm seeing a lot of people say it's dated and geared towards hip-hop, but I'm looking forward to seeing what kind of stuff I can wrangle out of it in a very different context. 

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I knew Vapor Drawings well in my youth but had since largely forgotten about it save one or two tracks.  It's encouraging - if strange - that you're now the 3rd younger person I've heard talking about it in the space of a week. Was it mentioned or used somewhere recently or is it just chance?

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Synchronicity, maybe? (Another great record)

 

I first encountered that Vapor Drawings last summer when the Black Dog returned, Falling in love with the transcendental music of people like Isham, Eno, Budd, Lanois, Byrne, Sylvian, Sakomoto, Martinez and more esoteric artists like Oliveros and Subotnick--that was one of those things that kept me going.

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I used to have Tibet on CD (also on Windham Hill) but eventually sold it again. I flirted with the music of Mark Isham but it never became a fully-fledged relationship. 

 

R-1485929-1389473099-1992.jpeg.jpg

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I never gave Mark Isham much of a chance, having never really liked what I heard from him in stuff like Crash and his Miles Davis tribute performances. I like the vibe Vapor is giving, though! Did I just hit his weak spots?

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  • 4 weeks later...

 

 

This album would be perfect for a sword & sandal pic set in Ancient Greece. I would love to see what the effect is when it would replace the music of Oliver Stone's Alexander.

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On 4/26/2019 at 6:23 AM, Nick Parker said:

I never gave Mark Isham much of a chance, having never really liked what I heard from him in stuff like Crash and his Miles Davis tribute performances. I like the vibe Vapor is giving, though! Did I just hit his weak spots?

 

For Isham, try BLUE SUN, and his work on XTC'S ORANGES AND LEMONS.

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22 hours ago, Alexcremers said:

This album would be perfect for a sword & sandal pic set in Ancient Greece. I would love to see what the effect is when it would replace the music of Oliver Stone's Alexander.

 

Never cared much for that album, to be honest. And Vangelis' ALEXANDER is perfect just the way it is!

 

But good to see shout-outs to Isham earlier. I used to dislike him at one point, but now I'm a fan. I consider CRASH one of the 10 best synth-driven scores of all time, and I've acquired quite a few of his albums in recent years (digitally). In addition to CRASH, I particularly like FILM MUSIC (the WH album with three score suites), A RIVER RUNS THROUGH IT, FLY AWAY HOME, LIFE AS A HOUSE, THE BLACK DAHLIA and IN THE VALLEY OF ELAH. Looking forward to explore and acquire more.

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1 hour ago, Thor said:

 

Never cared much for that album, to be honest. 

 

I like that it creates its own universe. And it's Vangelis at the height of his powers (1979). Knowing you, Thor, you probably would prefer the sequel  (Rapsodies). You will not like it either, but you would prefer it

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Actually not a big fan of RAPSODIES either.

 

I've heard all of Vangelis' work. There are three of his albums from the 70s that I really like (APOCALYPSE DES ANIMAUX, HEAVEN AND HELL and OPERA SAUVAGE), but the 'height of his powers' started in the early 80s onwards, to roughly around the time of OCEANIC.

 

 

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18 minutes ago, Thor said:

Actually not a big fan of RAPSODIES either.

 

 

 

That's what I said, Thor! But if you were forced to choose between Odes and Rapsodies, you would opt for Rapsodies

 

18 minutes ago, Thor said:

but the 'height of his powers' started in the early 80s onwards, to roughly around the time of OCEANIC.

 

 

 

Oh, no, that's when it became bad. Really bad and lazy, right after Blade Runner and Soil Festivities, that is.

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Musically, instrumentally and recording/production wise. And it became worse with each album. Simplistic wishy washy New Age chords with cheap sounds (mostly samples) drowned in reverberation. To think that a few years ago Vangelis has drenched all his albums in seas of reverb, which nobody likes except Vangelis and Thor ... Bah!

 

 

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