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A hundred years ago, before iPod, TV, radio or phonograph, the heart of the American home was the beloved upright piano. The children practiced every day; Grandma played for family gatherings; the top was cluttered with doilies, figurines, and the picture of handsome Uncle Verne in his uniform.

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A hundred years later we can use advanced materials and state-of-the-art equipment to rebuild them.They can become, again, the center of the home providing beauty, elegance and music even to a home without an accomplished pianist.

Having just been tuned, I absolutely love my piano and the house is once again ringing with tones that only an acoustic piano can create. Many thanks to Christian for providing the templates and videos to make sampling a piano as straight forward as possible and I hope you enjoy the sound of this piano from one of the iconic piano makers of yesteryear.

This is one of the first pianos that I've downloaded from the piano book and since then it's been an unmovable part of my template. A lot of character, great dynamics, well-defined low end, and warm highs. All recorded with the right amount of ambient that makes the piano works perfectly with every kind of reverb. Less than 14 Mb of memory usage makes this piano perfect for very old laptops like mine.

I'm far from being a pianist and would usually steer away from composing a piece of music centred around a piano. This was one of the first Pianobook instruments that I downloaded and the tone and feel just really gelled with me. I composed a track, that you can see in the top right called Woodlands. This piano, it's sound, it's character is what inspired the piece. That's what I look for in any instrument or sample library.

I always have had a sweet tooth for older upright pianos. Something intimate, familiar to them. It's what I started on in my early teens and they were everywhere. Friends homes, schools gymnasiums, church basements.

As a piano tuner many years later in Montreal, I've seen and heard pianos in most of the seasons of their lives, including some on their death bed. To hear old pianos here, you feel their "old souls" (if I may use the term). We get drawn to something of a story with each of them.

I've been listening to most of the pianos here since it started a few years ago, and especially lately since I started using Decent Sampler for live gigs (laptop doesn't handle multiple Kontakt libs too well).

The PianoBook PIANO libraries that check the boxes with me (for live music) have not been numerous due to one issue that seems: the bass. I often found the bass to be one of the weakest part of the recordings on all those I've demoed and installed from here.

They have character, and are very inspiring for certain types of projects, or personal creative times, yes, but for use with a band I need it to "show up." For live music I look for levels consistency across the board, from the bass to the treble.

Tim's English Classic is now part of my live rig. And beyond. I enjoy the quality of its tone and the presence I get from the bass strings. May have a few velocity peaks on certain notes in the mid section (that I would have noticed), but the sound overall is "bread&butter" material to me.

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The world woke up to the phenomenal talent of the Argentinian pianist Martha Argerich in 1964 when she won the International Chopin Piano Competition at the age of 24. She is now arguably the greatest living pianist and can sell out concerts in minutes.

Ashkenazy is one of the heavyweights of the classical music world. Having been born in Russia he now holds both Icelandic and Swiss citizenship and is still performing as a pianist and conductor around the world. In 1962 he was a joint winner of the International Tchaikovsky Competition (with John Ogdon, see below) and the following year he left the USSR to live in London.

His vast catalogue of recordings includes the complete piano works of Rachmaninov and Chopin, the complete sonatas of Beethoven, Mozart's piano concertos as well as works by Scriabin, Prokfiev and Brahms. He's worked with all the biggest names of the 20th century including conductors Georg Solti, Zubin Mehta and Bernard Haitink.

If there were ever a pianist who divided classical music fans, Glenn Gould is it. The Canadian pianist is best-known for his performances of the music of J.S. Bach, and particularly The Goldberg Variations. But he's also famous for humming along while he played, performing on a tiny chair which he took to all his concerts and his exacting demands for recording and performing conditions.

Ogdon was part of a new generation of musicians when he studied at the Royal Northern College of Music in Manchester in the 1950s, alongside Harrison Birtwistle, Peter Maxwell Davies and Alexander Goehr. He could play almost anything from sight and famously had an astonishing memory for music. In 1962 he jointly won the International Tchaikovsky Competition with Vladimir Ashkenazy and recorded a huge amount of music by Rachmaninov.

Perahia may have started playing the piano when he was just four but it wasn't until the age of 15 that, he says, he became seriously interested in music. In 1972 he became the first North American to win the Leeds Piano Competition and the following year he worked with Benjamin Britten and Peter Pears at the Aldeburgh Festival. In 1992 a bone abnormality caused his hand to swell and forced him to take some time off from performing. It was during this time that he found solace in the music of J.S. Bach. His Bach recordings are regarded as some of the best ever made.

This Polish American pianist is often quoted as the best Chopin performer of all time. He was found to have perfect pitch at the age of two and he made his debut with the Berlin Philharmonic when he was just 13. He was taught by a pianist called Karl Heinrich Barth, who had been a pupil of Liszt, meaning that Rubinstein was part of a formidable pianistic tradition.

Chopin composed his most well-known nocturne at the tender age of 20, which perhaps accounts for its youthful passion. The build-up from the main theme and waltz-like accompaniment to the dramatic trill-filled finale makes the Nocturne in E-flat Major a strong contender for the most beautiful piano work ever written.

Rebecca Clarke was a 20th-century British composer, who trained at the Royal Academy of Music and Royal College of Music in London before crossing the pond and spending the rest of her life in America. Her music is always thrilling, experimental and enormously powerful. Her Viola Sonata is considered one of the greatest pieces ever written for the instrument. And just listen to the power packed into her Piano Trio for piano, cello and violin.

The new Makey Makey Apps are the culmination of years of learning and play at JoyLabz. We took our tried-and-true piano app that was created when Makey Makey was first introduced, and we took it up a level alongside a number of new apps that we have created from the ground up. The new apps all have a number of cool features and are adjustable so you can plug and play your next invention.

Its probably best to load them from the channel strip. To do this create a new instrument track, and click and hold on the button called "setting" in the top of the channel strip. From here you should see a folder called "pianos." Load and enjoy!

The included pianos in Logic Pro X and Garageband are great, but they do lack some realism, even now in 2017. Its nice that they are included, and there are several ones that are free versions of better ones, like lite versions. They can be really good.

VI labs - Seem to have great sounding pianos in the new Ture Keys pianos and there is supposed to be a free version, True Keys single piano, but can not find it atm, the player they use is UVI Workstation, a free instrument like the Kontakt Player.

Then theres others, like upright pianos with great sound, not that classical, but realistic. Synthogy Ivory 2 upright pianos are great, but about 200 dollars. The Keypleezer Livingroom Upright piano is free though, for logic pro and garageband / mainstage. Installs as soundware, so not a plugin like many others, just sound and patches etc.

All pianos in the Classic Collection are made in Germany and each of the grand pianos in the series are based on the design characteristics of the full size Konzert grand piano K280. The sound system in the middle and treble section and the action of the Schimmel Konzert grand piano K280 was transferred into the Classic grand pianos and thus, the tonal character and touch closely resembles a concert grand.

The most distinctive feature of the 5'5" GL-30 Classic Grand is its flexible size that is substantially larger than a baby grand piano, but not quite as large as the traditional classic grand. This intermediate size allows it to adapt easily to a wide range of home, studio or institutional spaces. Regardless of venue, the GL-30 is an instrument of outstanding quality that will always provide a level of tone and touch worthy of GL Series, MMR Magazine's 2016 "Product of the Year."

Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility. 152ee80cbc

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