The basic tones are sampled, with physical modeling handling nuances such as mechanical and key-release sounds. One beef with sample-based plug-ins is that samples take time to load, but even Velvet’s “XXL” samples — the largest and best-sounding of three size choices — loaded in just a few seconds. Once you’ve chosen one of the four instrument types, changing presets within it is immediate, since this doesn’t require the samples to reload.
The Timbre knob in the upper right corner perfectly simulates what happens when you alter the tine adjustment screws on a real Rhodes, as described on page 26. The further clockwise the knob, the louder the harmonics are in relation to the fundamental tone. To the immediate left, another knob brings in Timbre velocity scaling. If you spank a key on some real Rhodes pianos, you’ll hear a pop as the tine gets smacked way off-axis then snaps back, and cranking up the velocity knob nails that effect to a tee. Of course, that’s not desirable all the time, which is why you can back off on these settings and keep it mellow.
Using Velvet’s relatively few controls — which include good to bad condition, key-release and mechanical noise levels, three-band EQ with sweepable midrange, and a killer multi-effects section that wants for neither quantity nor quality — it was always incredibly easy to recreate my sonic memory of any model Rhodes or Wurly in any shape, from whatever tune I had stuck in my head at the time. Okay, there’s one exception: Velvet doesn’t have samples dedicated to the bell-like Dyno sound popular in the ’80s (see “Myths and Facts” on page 42), but call up the “SC-73” (presumably SC stands for Suitcase), and you can duplicate the sound with the Timbre controls and EQ.
It was plain impossible to make any aspect of Velvet sound digital or synthetic. Even when I cranked things like the key-off sounds and mechanical noise to extremes that don’t exist on real instruments, I could never “hear the DSP working.” At worst, it sounded like some poor electric piano had been left outdoors at Burning Man, but even this seemed . . . real. When I wasn’t trying to make it sound messed-up, Velvet was simply the best electric piano emulation, hardware or software, that I’ve yet played. The Wurly is every bit as good as the Rhodes, too, but Velvet doesn’t do Clavs — sigh.
In principle, I don’t like recommending an entire recording platform on the grounds that you need it to use some gee-whiz virtual instrument. In practice, Velvet pushes me closer to doing so than I have ever been. If you’re choosing your first DAW or thinking about switching, and you love electric piano, the case to just get PT, get Velvet, and get happy becomes downright compelling. Velvet is that much of a class act.
INSTRUMENTS
Rhodes Mark I and Mark II stage pianos, Rhodes Suitcase 73, Wurlitzer 200A.
PREVIOUSLY REVIEWED
No.
PLUG-IN FORMATS
RTAS.
PROS
Incredibly realistic, warm, detailed sound. Nails the widest variety of electric piano sounds authentically. Controls provide maximum sonic flexibility without being too tweaky. Effects kick ass.
CONS
Only works with Pro Tools. XXL samples sound the best, but require lots of computer memory.
BOTTOM LINE
The best-sounding electric piano plug-in we’ve heard.