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Exorbitant goo. - Avis Native Instruments New York Concert Grand

The title of this review just about perfectly illustrates the sound I made (and I suppose the face I made as well) as soon as I struck middle C for the first time in the Native Instruments New York Concert Grand. You can only imagine the mathematically logical conclusion as to what happened when I started actually playing it.

No. Actually I didn't explode, but I did spend the next three hours hunched over my piano playing.

The New York Concert Grand is not at all editable outside of a few of the pianos essential but basic parameters which I will cover, in terms of the sample itself. That may seem a shame, but considering the fact that I can use other plug ins on the track housing the piano, it's nothing to be feared.

The piano has a brilliance to it, and it's certainly the most "pop" sounding of all of the Native Instruments grand pianos. This makes it far more suitable to use in song production than the others. I defer to the other pianos when a more orchestral sound is required of me.

However, this can be managed, tamed, brought further out with the basic things that Native Instruments puts on the New York Concert Grand piano. You can choose mic position, velocity curves, whether the lid is open or not, or partially. You name it! I can't even remember all of the things that it lets you do, so the best advice I could give would be to watch a video on it, or look at a picture of the interface.

The program also runs rather smoothly; it's not at all greedy like some of the heavier sample libraries, and yet it sounds almost as good. However, I'm more concerned with the final sound than how meticulously the piano is recreated, so I have to again heap praise on Native Instruments for a job well done.