Demos - Jazz
The song Skylark with a 45% dynamic range patch, reverb impulse number 13 at -5db and sustain impulse number 6 with the original Blüthner piano sound (no Ti used). Play demo
Here is the same demo but with jazz timbral Impulse 50 added - this tansforms the full sound of the Blüthner piano back in time to the sound of a "cool" midrange sounding piano. This Ti was inspired by a great 1962 jazz recording. Play demo
Here is another demo but with timbral Impulse 46 added - this tansforms the full sound of the Blüthner piano back in time to the warm sound with a more pronounced upper bass character. This Ti was inspired by a 1975 solo jazz piano recording. Play demo
The third timbral Impulse 39 tansforms the full sound of the Blüthner piano back in time to the bright but full sound with not as deep of a bass resonance as the BDMO. This Ti was inspired by the piano sound in a 1978 virtuostic jazz recording. Plan demo
The song Skylark with a larger dynamic range 65% dynamic range patch, reverb impulse number 13 at -5db and sustain impulse number 6 with the original Blüthner piano sound (no Ti used). Plan demo
Artist Demo - Russell Ferrante
Russell Ferrante of Yellowjackets
Yellowjackets Keyboardist Russell Ferrante submitted a Blüthner Digital Model One demo of a track he originally composed for their 1988 CD "Politics". The piece is "One Voice". Play demo (8.4 MB) © 2007 by Russell Ferrante.
Here is the same piece but with Jazz Timbral Impulse No 38 which is inspired by a 2001USA solo piano recording. Play demo (8.4 MB) © 2007 by Russell Ferrante.
Here is the same piece but with Jazz Timbral Impulse No 19 which is inspired by a 1959 USA solo piano recording. Play demo (8.4 MB) © 2007 by Russell Ferrante.
Dynamic range patch chosen was 45% the Reverb Impulse #41 wet level -10db and Sustain Impulse #9 was used for this rendering.
Artist Demo - Kenny Werner
Here is a Kenny Werner Improvisation on the Blüthner Digital Model One with dyanmic range patch 45% Reverb Impulse #29 with a wet level of -12db and Sustain Impulse 8 was used. Play demo
"Werner owns more chops and brains than most pianists do....Werner hardly raises his voice to make subtle points, couching his logic in neat vamps, sinewy angular lines, dizzying rhythmic double entendres." - Down Beat
"Perfection. 360 degrees of soul and science in one human being. My kind of musician." - Quincy Jones
Artist Demo - Don Grusin
With a long and illustrious musical dossier, Don Grusin was baptized in the music business early on, having played with jazz greats Clark Terry, Zoot Sims, Carl Fontana, Gary Burton in his home based jazz club in Denver. His baptizm picked up steam after touring Japan and playing on records for Quincy Jones, Billy Eckstein, Peggy Lee, Tom Scott, Lee Ritenour, Sergio Mendez, Sadao Watanabe, Milton Nascimento, Gilberto Gil, Dori Caymmi, Patti Austin, and his brother Dave. Don was the creative sparkplug for the acclaimed fusion ensemble Friendship and has recorded nine solo albums as well as producing and arranging many more, including the Grammy-winning Musican for Ernie Watts, and just this year a Grammy nomination for the Hang. More information can be found at http://www.dongrusin.com/
Here are two demos that Don Grusin played on the Blüthner Digital Model One
Here is another demo from Don Grusin. Don has the BDMO on this main desktop system as well as on his Mac laptop computer for touring. As you can tell by this performance he is having fun with the piano. Don told Ernest and Dan that the "Bluthner is perfect, solid, predictable and great sounding.". He also adds the reason for this demo appropriately entitled "Blüthner Bent" is "But the point here is that the instrument has such flexibility, ease of playing, all the pedal stuff is flawless". Not your average mainstream piano demo but as always very musical ! He uses the Pop 55% Dynamic Range patch with a little reverb from Space Designer. Play demo
Artist Demo - Norman Durkee
Norman Durkee performance on the Blüthner Digital Model One Play demo
Norman Durkee played piano on the Bachman-Turner Overdrive's hit "Takin' Care Of Business".
Norman Durkee has been musical director of Teatro ZinZanni since its first show (appropriately titled Love, Chaos, and Dinner) opened in Seattle in 1998. In retrospect, Durkee's whole life seems to have been preparation for ZinZanni. A piano and performance prodigy from Seattle's far South End, Durkee got his first big break working for Seattle Opera's youth program, where he created a touring "opera" for kids with director Arne Zaslove. That led to his appointment to lead the band for the opera's memorable production of the Who's Tommy at the Moore Theatre, which gave the young Bette Midler her first starring role onstage. After a stint in Santa Monica as composer in residence, idea man, and jack-of-all-trades at the adventurous Chiat-Day ad agency, he returned to the Northwest to make a tidy living writing, composing, and producing commercials.
Never satisfied merely to write a jingle and pick up his check, Durkee over the years has composed scores for modern dance and ballet works, and developed a kind of binaural "radio theater." It's hard to describe his "sound." He can shift from one genre to another without missing a beat, drifting from outright knockoff (the music for the opening train sequence at ZinZanni may sound more than a little familiar to fans of Stravinsky's Firebird) to sly allusion to what sounds at first like chaotic collage.