Because the UVI WORKSTATION comes with effects as well, we use the Attack EP88 as a master source and then apply the effects of the UVI WORKSTATION on top. While adding in the Acoustic Source and changing effects settings, we go about making an original sound.
You can watch and see (and hear) how Tremolo, envelope, and the tacked sound alters the overall sound of the EP88.ĭuring the second half of the video, the electric piano sound is given the spotlight. This time, our Demo video has no talking, just playing. This is applicable to both Acoustic and Electric Sources. Presets have been provided which showcase the different samples.Įach note can be set over a range of ±50 cents. (Practically speaking, this means you can select between three Rhodes samples for each note). If you use the metal sound, envelope and wheel strum in a crafty way, you can even achieve glass harp type sounds.ĭetailed parameters can be edited for each voice on the ATTACK EP88Īctive only on the Electric Source signal, you can choose between three positions for the tone bar pickup on each note played.
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WHEEL STRUM uses the mod wheel to achieve a plucked/strummed effect. WHEEL STRUM and PITCHBEND RANGE parameters work in conjunction with each other. There's also a PEDAL VOLUME which controls the amount of noise present when you step on the pedal. You can also use the STEREO for thick, detuned sounds. The acoustic source provides an envelope for the metal attack sound, so you can slow it down or make pad sounds even. You can fully edit both the acoustic and electric instruments.
When you use just the Rhodes sound, these effects, along with the TREMOLO are sure to cover all your effects processing needs.Ī Rhodes isn't a Rhodes without CHORUS, and here you get ENSEMBLE, and controls for DEPTH and SPEED.Ī STEREO phaser with adjustable FEEDBACK.ĭELAY with tempo-syncable TIME, and settings for either STEREO or MONO use. As with the Acoustic Source FX, effects here are only applied here, and do not affect the other source. Effects here do not get applied to the electric source.įour types of effects have been provided. The sound itself of a tacked piano is very unique, with a special emphasis on the attack, and has a definite impact that sets it apart from the pack.Įffects can be applied to both the CONTACT and MONO&STEREO signals. A variety of miking approaches were used during the sampling process, resulting in a massive amount of samples (47,000) so it hardly needs to be said that you can completely customize the sound, and tailor it exactly to your liking.
The Attack EP88 electric piano plug-in utilizes a fully restored, 88-key Rhodes Mark I with tacks on the hammers as the sample source. Doing so adds a very unique tonality to the attack portion of the sound itself. A tacked piano is a piano where thumbtacks have been placed on the hammers, right where they strike the string (or bars/reeds, in the case of electric pianos). So, does that mean a tacked piano has thumbtacks all over it? Sort of. It is a very intriguing matter, to be sure.įor starters, let's look at the word "tacked." The tack being referred to here is a thumbtack. Many of you may be wondering exactly what a tacked piano is, as it's not a very commonly used term, and how does the sound differ from a normal electric piano.
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