Quotes

What others have to say...

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Guess what..... I used it in a Britney Spears remix!

Junkie XL

It's completely whack and that's why I like it! And it's great to see a developer take advantage of our Channel Strips feature as well....

Bob Hunt - Apple (Logic Pro)

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This is f**king dope! I'd hate to see the piano's you guys did this to....

Brian Transeau (aka BT)

Love what you´ve done man! This is the work of real devotees. You´re crazy! Very inspirational stuff.

Erik Häusler in Future Love Productions Sweden

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I am truly speechless .....how do I put this....’Piano Attack’ ... UNFU**IN’ BELIEVABLE!!!!

John Roome (The Orb)

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Super sound library, the only thing I want to do now is write scores for movies and create tracks where Tom Waits meets Einstürzende Neubauten.

Stefan Smidt (Zuco 103)

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...... Enthusiastic Piano Attack user!

Jeffrey Rona (Silkscreen Music)

Piano Attack takes an open mind. The drum loops are plentiful and are arranged by tempo, from 40 to 310 bpm. Some patches are quite evocative and will likely inspire compositions on their own. If you want to inject some truly original sounds into your music and you dont mind exploring experimental timbral materials, Piano Attack might be just what your music needs to get out of its rut.

Geary Yelton (Electronic Musician)

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This isn’t John Cage “prepared piano,” but rather, reminds me conceptually of the sample CD that was every possible permutation of sound you could derive from an automobile, including hitting it with a sledgehammer. This does pretty much the same thing for piano. Format-wise, you get 210 EXS24 patches, 274 Kontakt 2 patches, 411 Logic Channel Strip presets, “BPM” rhythmic patches, and 157 REX files. I tested it with Kontakt 2; the programming is excellent, which bodes well for the EXS24 version.

Cute concept, but is it useable? If you’re doing Southern rock, probably not. But for anything else, you get truly original textures and beats. This is not a standard piano sample library; strings are plucked, brushed, threatened, struck, thwacked, and mated with alien beings. The results range from otherworldly (as in “heaven”) to otherworldly (as in “hell”). There are some ace percussion sounds, multis, atmospheric drones, semi-melodic sounds, fx, whack basses, and much more. The “copy protection” is reward-based: When you register, you can download free content (currently 21 REX phrases).

Piano Attack isn’t cheap, but obviously, a ton of work went into creating it. I’m going to get a lot of mileage out of this library - and if you appreciate “esoteric-yet-highly useful,” you will too.

Craig Anderton in EQ Magazine

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I now have all the twisted piano sounds I could ever want plus my old Steinway is safe.

Scott Mathews (Hit or Myth Productions, Inc.)

Headline: "Piano torture."

"Everyone creating and using sounds have a secret dream of destroying a piano with a tape-recorder present. Now someone has done the job for you."

Comments: "Piano Attack is an exotic soundlibrary for those who prefer something different with a lot of possibilities for expression and for anyone who likes to play around with interesting sounds for both film and music. The avantgarde composer John Cage would probably have liked Piano Attack a lot if he was still alive."

Verdict: 4 out of 6

Pros: Full of atmosphere. Better to let someone else destroy a piano that doing it your self.

Cons: Exotic sound library - not necessarily for every one.

Norway in Hjemme PC

"Gedanken in die Tat umzusetzen, soll hier mit Audiodaten versorgt werden, deren Herkunft nicht immer sofort erkennbar ist, weil man sich im Zusammenhang mit diesem Instrument immer auf die schwarzen und weißen Tasten besinnt. Das zumindest ist eine Herangehensweise an ein Piano, die hier nur selten und wenn, dann auf jede andere als die von den meisten Musikliebhabern erwartete Weise angewandt wurde."

Plus

++++        ungewöhnliche und interessante Klänge

++ Dokumentation dabei, hat aber nur grob beschreibenden Charakter

Minus

- nichts zu meckern!

Axel Jungkunst in Amazona

By inserting nuts, bolts, erasers and sheets of paper between the strings of the piano, American avant-gardener John Cage created a new industrial sound world. 'Prepared piano' is still spoken of in reverent whispers in classical circles, and several companies have released libraries based on Cage's carefully documented procedures. Soundlabel take the idea much further in Piano Attack, but there's nothing reverent about their approach!

Despite the brutal imagery and violent (though clearly tongue-in-cheek) language that accompanies the library, it contains some fabulous other-worldly sounds and textures. Some are so heavily processed as to be unrecognisable, but that's no bad thing. The processing is skilful and creative, and gives the library a contemporary edge you can't get from a collection of purely acoustic piano noises. The 1.2 GB of samples were made by playing, brushing, bashing and scraping the piano strings and soundboard with fingers, plectra, percussion mallets, household implements and tools (including vicious-looking pliers and saws), thus bypassing the keys completely.

The 'Atmospheres' section has plenty to offer film composers: 'Frictionscape 3' and 'Ghost Wind Ambience' are spooky, evolving soundscapes, and the scary 'Haunted Piano' sounds like Norman Bates rummaging around the piano's bass strings. Based on a tranquil, sustained major 6/9 chord, the delightful 'Morphazzo' reminded me of the new-world atmospheres on BT's Twisted Textures.

Some multisampled patches can be layered with other keyboard sounds to interesting effect: the beautiful 'Fade-In Piano Dream' uses Kontakt 2's MIDI scripting facility to produce a series of rising octave intervals, and sounds astonishing when combined with strings. But Piano Attack tends to avoid conventional pitched samples, concentrating on atmospheric noises and effects: for example '8 String Resonatorz 2', a collection of eight evolving, drone-like samples, rumbles and jangles as if in some huge underground cavern, and the sounds are given extra resonance by Kontakt 2's convolution effect.

As the name suggests, this library contains many unsettling impact noises, including a large, random array of percussive knocks and bangs. Coupled with fast string sweeps, these short, staccato hits have great potential for creating unusual rhythm patterns. To prove the point, there's also a collection of pre-programmed rhythm loops. Arranged in 16 graded-tempi programs with half and double-speed variations, the loops play bang in time and though many of them sound bonkers in isolation, the right combination of two or three can produce a terrific groove. Enormous fun, and an unexpected bonus from this unpredictable, sacrilegious and wildly inventive library.

Dave Stewart in Sound on Sound