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UVI Sound Engine
We built our VI to work with UVI, an industry-leading, incredibly advanced sound engine.
FLAC Lossless Compression
A true world-class audio format, FLAC provides audio engineers with powerful compression abilities with virtually no LOSS; rendering the massive 35 Gb VI to just under 8 Gb.
Microphone Positions
You have your choice of one of four different microphone positions: Closed, Player, Room, and Side positions. You can also blend them together.
Una Corda
You can create a very realistic soft pedal effect and thus more dynamics and voicing control as you play with the inclusion of your choice of these samples.
Half-Pedaling
This function allows fine variable control of the damper pedal action enabling you to adjust the range in which the effect occurs for a better match to your particular pedal and playing style.



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A VIRTUAL PIANO LIKE NO OTHER

Concept and technology behind the Ravenscroft 275VI

At RAVENWORKS Digital we believe that some instruments truly can inspire and take your creativity to new levels. Ravenscroft 275VI is one of these rare instruments. This one-of-a-kind concert grand has been recreated using nearly 17,000 samples and 4 discreet microphones, controlled from an easy to use interface. Our goal was to emulate all aspects of the 275’s detailed voice using the latest sampling technology and let this amazing piano speak with clarity. The result: a virtual piano like no other.

Reproducing the tone and playability of a concert grand like the 275 Titanium is no easy task. Precise playing velocities plus complex harmonic interactions and details are carefully sampled and then controlled by a powerful script and engine. Control is similar to a modeled virtual piano but entirely sample-based. Touch response is consistent no matter the controller used. All while keeping your resource usage minimal and offering fast load times.

It’s one piano that works for all styles. And gorgeous detail is abundant. Crystal clear hammer attacks, unique Muted Strikes, staccato Release Trails, lush Una Corda, and sampled Resonance lead to a level of realism previously unobtainable in a virtual piano. If the usual piano tones have worn out their welcome and it’s time for the unique, the Ravenscroft 275VI may be the one. This is truly the pianist’s virtual piano.

AUDIO AND VIDEOS

Listen to our demos and watch the videos.

SERIAL 275004: RAVENSCROFT TITANIUM

A great virtual piano starts only with the best acoustic piano

Ravenscroft Pianos are designed and built by Michael Spreeman at his company in Scottsdale, Arizona. After working with renowned jazz pianist and composer Bob Ravenscroft on a custom performance piano built to satisfy Bob’s highest demands and expressiveness, Mr. Spreeman formed Spreeman Piano Innovations to build the exclusive line of Ravenscroft Pianos, named after the composer. Each handmade Ravenscroft grand takes well over 1,000 hours to complete which is about four times that of a factory built piano, and each can be built specifically to a customer’s requests or for a specific design or location.

Mr. Spreeman had been seeing trends in how a large part of the piano world was becoming digital, and realistic sampling along with ever faster computers enable acoustic piano sounds to become easier to emulate. It was imperative for Mr. Spreeman to have his signature Ravenscroft voice captured for the most accurate ‘simulator’ possible. VI Labs worked with Ravenscroft Pianos at every step of the process to sample their 275 Titanium and do tests so we captured the perfect tone that satisfied the virtual and acoustic instrument makers both. A priority for Ravenscroft was finding the right team to sample their piano because of the expected level of accuracy and realism. With our detailed knowledge of acoustic pianos and recording methods plus complex scripting utilizing the UVI engine, we were able to create the officially licensed Ravenscroft 275 VI library that truly emulates the voice of the Ravenscroft 275 VI concert grand.

The Model 275 Titanium was built to be a concerto piano and have power to sing over a full orchestra but still handle the most delicate passages with ease and clarity. Sitka spruce from a 1,000 year old tree was used for the soundboard, the action is CAD optimized to be responsive and balanced to precise tolerances, and all string termination points are of solid titanium which contribute to its brilliance and long sustain. Front and rear tuned duplex scale further adds to the brilliance and sparkle. It responds with the agility of a fine sports car. And most important for the virtual instrument, tonal possibilities and depth of voicing with the Model 275 Titanium seem limitless. The bass is deep with a pronounced fundamental, the tenor is pure and rich, and the treble retains clear overtones and can be as bright as you want just in how you play without ever sounding edgy or brittle. The sustaining sound evolves beautifully over time with several notable ‘blooms’. Overall there is brightness and definition but it keeps a warm quality at all times even when it’s played fortissimo in any register.

According to Mr. Spreeman, “Although our sound is very clean and pure, it’s also multi-dimensional. I strive for multiple layers, or demensions, of complex harmonics that can be heard, sensed, and felt without sacrificing a strong emphasis on a bold fundamental tone.”

A STUDIO AT YOUR FINGERTIPS

Four discreetly sampled mic setups, at your control

studio-fingertips

When recording a great piano in the studio, you want options. Versatility in microphone setups is needed to cover any playing style or mix without being limited to one basic tone. Plus the microphone selection and placement in and around the piano affect the stereo image and what tonal aspects of the piano are being recorded.

The four discreet phase-aligned mic setups of the Ravenscroft 275 VI accurately capture its unique voice in exquisite detail and can be used individually or mixed in any way. World-class mics and preamps were used throughout. Tones from close and intimate, diffuse and distant, warm or brilliant, all can be acheived with one or more of these mics. Load the samples you want and activate or deactivate mics without having to unload and reload the samples. This is the Ravenscroft 275 VI virtual piano studio.

REAL SYMPATHETIC RESONANCES

Entirely sample-based with realistic response

resonances2

Pianists are well accustomed to the aspect known as sympathetic resonance that occurs in acoustic pianos and its importance to the sustain and how chords resolve. It binds all notes together as one instrument. Sympathetic resonance is heard among harmonically related keys held and others played, while pedal down resonance occurs as all strings vibrate together when the damper pedal is pressed adding to the overall sustain.

Both pedal down and harmonic key pedal up resonances are sample-based and not synthesized in any way. We believe this important component of the piano’s tone is best emulated only with real samples. The Ravenscroft’s multi-dimensional resonances have been precisely sampled and scripted for both types of advanced resonance simulations responding naturally like the real grand, all fully adjustable.

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