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User profile for user: lifenoise lifenoise. Reply Helpful Thread reply - more options Link to this Post. Pitch level , pitch bend , velocity curve , tuning system including quarter-tone , dynamics , microphone distance, equalizer , lid position closed, half-, or full-stick as well as choice of performance space may all be modified. Akoustic Piano is now a Macintosh Universal Binary. From Wikipedia, the free encyclopedia. The topic of this article may not meet Wikipedia's notability guidelines for products and services.
Please help to establish notability by citing reliable secondary sources that are independent of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be established, the article is likely to be merged , redirected , or deleted. This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Since its launch in , NI's B4 has been the software instrument of choice for those who want realistic tonewheel organ sounds from their computer. But NI are clearly convinced it can be better Since , when Korg released their original CX3, and made what was arguably the first serious attempt to replicate the sound of a Hammond organ in a portable keyboard, there have been scores of ersatz tonewheel organs, some good and others, well, not so good.
With the advent of software instruments, 'virtual' tonewheel emulators began to appear, and it was NI's B4 , first reviewed in SOS back in November , that went on to become something of an industry standard. Despite these, though, NI's B4 has remained the benchmark for Hammond plug-ins, gaining favour not only with studio-based musicians but with live performers, too. There is, however, always room for improvement.
What's more, B4 's functionality has not been updated since its first release, five years ago! However, rather than making changes to B4 , NI have opted to create a new generation of the plug-in. Significant enhancements and additions abound in this version — a choice of cabinet emulations, dual rotary speakers, and a new modelled tube amp are just a few of the goodies on offer.
So does it sound even more authentic than before?
Once installed, you have 30 days of full functionality before the software has to be registered to continue working. In the event that you have no Internet connection available at all, registration can also be done by snail mail — but not, apparently, by telephone. In contrast to B4 's two screens, or views, B4 II presents five different views.
Constantly visible at the top of all five views is a panel from which you can select Presets, store sounds and select any of the five views. The main view, 'Manual' shown above displays the entire instrument with both manuals, pedalboard, three groups of drawbars and the performance controls from a real Hammond. The Rotator can still be bypassed entirely, but via a different editing view, as will be seen shortly see page The upper and lower manuals and pedalboard are accessible via their own MIDI channels as on the previous version, and keyboard splits can be set up, providing 'zoning' of the sounds of both manuals and the pedalboard from one MIDI channel if desired.
Keysplits can be assigned directly from the Manual view by holding down the right mouse button the Control key on a Mac and clicking on an upper manual key, and then making your choice from the resultant drop-down menu. Keysplits and transposition settings are global to B4 II — in other words, they're not storable on a per-preset basis.
The Organ view above is where many of B4 II 's new features are to be found, and is divided into four sections. The lower section duplicates the drawbars and performance controls of the Manual view, but displays them larger, for which my aging eyes are truly thankful.
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The Organ section provides control over Key Click amount, fully variable response to keyboard velocity and Leakage amount. Leakage is a characteristic of older Hammonds, where the crosstalk 'whine' between the tonewheel outputs can be heard, varying in timbre according to which drawbars are in use, and which notes are playing. When applied carefully, this can add a great deal of realism. When in String mode, notes decay to silence like a string bass when pedals are released.
When in Organ mode, increasing the Sustain parameter acts like a 'hold' feature — the notes are held at full level according to the Sustain time amount — which is very useful for keeping the bass notes flowing if you're not too nimble on the pedals.
A couple of problems came up with B4 II during the review period. Under certain conditions, B4 II 's CPU usage ran exceptionally high when using it alongside other plug-ins in Cakewalk's Sonar 5 my sequencer of choice. However, in one particular arrangement, which included two instances of Kontakt 2 and various effects plug-ins, B4 II gobbled up nearly 40 percent of the available CPU, causing it to max out. Replacing it with the original B4 reduced the CPU to normal levels. Finally, in the stand-alone version, I noticed that moving the Drive knob fully anticlockwise sometimes caused audio to cut out completely.
NI have completely redesigned the built-in tube amplifier emulation for B4 II , and claim that the new model has been modelled on the original Leslie tube amplifier.
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The character of the distortion, especially at high drive levels, is considerably more authentic than in B4 , being far less fizzy and imparting a satisfying growl. This makes for a more solid, focused sound that works just as well with single notes as with chords. At lower drive levels, it doesn't entirely capture the soft, sexy 'purr' of the real thing to my ears, erring a little on the crackly side.