|jRhodes3.sf2.zip|| 57 MB zip,|
76 MB sf2
|jRhodes3.mp3||Full unlooped soundfont, with 65 samples in 5 velocity layers, sampling at least every 4th white key starting at F1. More technical details below.|
|jRhodes3a-looped.sfArk.zip|| 3.5 MB zip,|
12 MB sf2
|Looped version of the above. You can find a version of this for Kurzweil keyboards HERE.|
|jRhodes3c.sf2.zip|| 30 MB zip,|
30 MB sf2
|jRhodes3b-stereo.mp3||Looped stereo version. A mild stereo pitch shift doubling chorus effect was added, along with some compression. The effect was added using mid-side technique, so it cancels out completely when summed to mono.|
I really like playing this soundfont, but it has several obvious deficiencies. I need yet more velocity layers, especially at the low end of the keyboard and at high velocities. And no doubt, some hand-tweaking of individual samples & key-map details would help. I also may reprocess the higher layer samples with a bit of compression, because they drop in volume so dramatically versus the lower layers, they sound a bit thin.
Version 3a differs from the original version 3 only in that the volume was raised in samples in the upper registers to even out the level a bit.
If you have any feedback about these soundfonts, please contact me using the email address below. Meanwhile, enjoy!
Just in case anyone's wondering what happened to jRhodes2 -- Well, due to unfamiliarity with the tools, the Preset name in jRhodes1 ended up as jRhodes2. Reusing that name would have been confusing.
Here's the piano itself. The little colored sticky tabs indicate the keys I sampled. No color code, though!
I sampled each layer in a single file, using the preamp on my TASCAM M-30 mixer EQing with a substantial scoop from the upper bass and a little boost to upper mid and treble. My goal, as before, was to get the Rhodes sound I started using back in 1977, where the bell-like tone is clear, but the beast will bark nicely when poked.
I used a MOTU 828 soundcard, recording 24-bit samples, using n-Track DAW software. After deleting the snarks, I normalized each layer file and rendered to 16 bits. I fed the 16-bit files into Cool-Edit 96 (which doesn't support 24-bit files) to use it's noise reduction feature. (I suppose I should chip in the cash for a good 24-bit wave editor. So far I've been very disappointed in Audacity.)
I fed the 16-bit layer files into a little Python program I wrote (and used for jRhodes1) which chops up the layer file into individual samples. It measures the pitch of each sample and names the resulting sample files according to the sample's MIDI note number, along with the layer name from the original layer wave file.
I then fed the sample files into a new little Python program that builds a keymap based on what samples are there, plus a little configuration information (e.g., the MIDI velocity to use for each layer). This program just builds a text file, which is processed by yet another Python program, which builds a simple soundfont based on the information in the text key-map file.
If only I could write a de-noiser in Python, almost the whole process could be hands-off, so I could focus on getting the best sample set rather than fussing with the sample files and clicking on silly soundfont-builder program GUIs.
Here is the output from the keymap program, btw.
Here's a short clip demo. Please ignore the poor timing; I had latency issues on my computer when I recorded it.
Here's the soundfont:
Find sfArk at Melodymachine.com: sfark.htm. Supported on Windows, Mac OSX, and x86-Linux.
I recorded straight off the harp, bypassing the Rhodes' tone controls. I scooped out in the bass, about 100 Hz, using the semi-parametric on my mixer, because that's the sound I want (and what Scarbee, great as it is, isn't).
I recorded each velocity layer in one file, in 24 bits, using a MOTU 828. I normalized and converted to 16 bits, and removed the noise using CoolEdit96 (which only handles 16-bit files). I then processed each file with a Python program I wrote, which chops up the samples into separate files, naming the files according to the note name (based on the frequency using a simple autocorrelation algorithm). I created the instrument using GigaStudio32 (which I found on ebay for $30).
I hope to do another round, and when I do, I probably won't sample more keys -- the Rhodes doesn't seem to need it. What I will pay a lot more attention to is the velocities when sampling, and I'll probably use more velocity layers -- especially at the lower end of the keyboard.
Hear my music at Learjeff.com.