[MONTAGE M系列合成器扩展复古键盘] PurgatoryCreek Soundware Vintage Keyboard Collection Montage MODX（227MB）

P2P | 14 January 2026 | 227 MB

雅马哈 Montage 和 MODX 的复古键盘音色库旨在与雅马哈键盘出色的内置音色相得益彰。该音色库包含不少于七款必备的经典机电键盘。所有乐器均直接从其输出端采样，未添加任何效果染色，旨在为演奏者提供更中性的声音——如同您首次将键盘连接到放大器时的声音。
除 CP70b 外，所有乐器均包含释放采样，该采样通过捕捉从琴键抬起到制音器完全闭合期间的声音而生成。它是持续音的延续。制音器除了会使声音减弱外，还会导致音高略微变化。这对于尽可能真实地还原这些音色至关重要。释放采样与释放噪声不同，后者是琴键和制音器发出的机械声。
为了缩小音色库的大小，一些较长的采样需要循环播放。在这些情况下，循环被放置在采样衰减的深处，以保留原始包络，并使任何循环痕迹几乎无法被听到。
整个音色库需要 550MB 的闪存空间。它专为已安装贝森朵夫钢琴音色的雅马哈 MODX 而设计。
请注意：已知此音色库与 ESP 软件存在不兼容问题。我们正在与雅马哈合作解决此问题，如有进展，我们将及时更新。
Mark I (1975)
对许多人来说，1975 年被认为是这款电机械钢琴的黄金年份。它配备了备受推崇的托灵顿琴键以及恰到好处的琴槌尖端。
Creek Soundware Mark I (1975) 音色库采用深度采样，包含六个力度等级和三个力度层的音符释放采样。
Mark Purgatory V (1984)
Mark V 钢琴于 1984 年推出，是这家电钢琴制造商生产的著名琴键式钢琴的最后一次改进。它包含许多改进，使其成为一款真正卓越的乐器。
Purgatory Creek Soundware Mark V (1984) 进行了深度采样，涵盖五个力度级别，并包含三个力度层的音符释放采样。
200A
200 系列簧片电钢琴的生产始于 1968 年，并持续到 20 世纪 70 年代。它是最受欢迎的簧片电钢琴，在当时及之后的许多录音中都能找到它的身影。200a 系列在原版 200 的基础上改进了电子元件和降噪功能。Purgatory
Creek Soundware 200a 进行了深度采样，涵盖四个力度级别，并录制了完整的时长，因此您不会听到任何循环或人工包络衰减。它还包含三个力度层的释放采样。
140B
140b 电钢琴产于 20 世纪 60 年代早期至中期，采用钢簧片发声。虽然后来的 200 和 200a 型号更为常见，但在 20 世纪 60 年代的众多录音作品中，仍然可以听到 140 系列电钢琴的声音。Purgatory
Creek Soundware 的 140b 音色库采用深度采样技术，在四个力度级别下录制了完整时长，因此您不会听到任何循环或人工包络衰减。它还包含三个力度层的释放采样。
Pianet N
电机械钢琴是此采样集的基础，生产于 1965 年至 1967 年间。它是一种罕见的簧片乐器。
Purgatory Creek Soundware 的 Pianet N 音色库采用深度采样技术，在四个力度级别下录制了完整时长，因此您不会听到任何循环或人工包络衰减。它还包含三个力度层的释放采样。
Clavinet D6
D6 型号是迄今为止最受欢迎的 Clavinet 型号，在 20 世纪 70 年代及以后的许多录音中都能听到它的身影。
D6 的三种最常用拾音器设置（DB、CA、CB）均以五到六个力度层级进行采样。此外，还包含释放采样。该采样包模拟了 Clavinet 的一些常用滤波器组合（Brilliant、Treble、Medium、Soft），以及通过调制轮实现的琴弦静音效果。
CP70B
这款电子机械钢琴是该采样包的基础，它使用真正的琴弦而非簧片或簧片，使其音色更接近传统钢琴，同时又独具特色。
Purgatory Creek Soundware CP70b 的采样包含三个力度层级。
The Vintage Keyboard Collection for the Yamaha Montage and MODX was designed to complement the great onboard sounds of the Yamaha keyboards. The collection includes no less than SEVEN must-have classic electromechanical keyboards. The instruments were sampled directly from their outputs with no effect coloration, designed to give the player a more neutral sound—like when you first plug the keyboard into an amp.
With the exception of the CP70b, all instruments include release samples created by capturing the sound from the time key is lifted to when the damper is fully engaged. It is a continuation of the sustained sound. The damper can cause a slight change in pitch, in addition to deadening the sound. This can be a critical component when trying to make these recreations sound as authentic as possible. Release samples are different than a release noise which is a mechanical sound of the key and damper.
In order to shrink the size of the library, the looping of some longer samples was necessary. In those instances, the loops were placed deeply in the decay of the sample so as to preserve the original envelope and make the hearing of any loop artifacts nearly impossible.
The entire collection requires 550MB of flash storage. It was designed to load into the Yamaha MODX with the Bosendorfer piano installed.
PLEASE NOTE: There is a known incompatibility with the ESP software and this library. We are working with Yamaha to resolve this issue and will provide an update if/when this is available.
Mark I (1975)
For many, 1975 was considered to be the golden year for this electro-mechanical piano. It featured the coveted Torrington tines along with just the right hammer tips.
The Purgatory Creek Soundware Mark I (1975) was deeply sampled at six velocity levels and three velocity layers of note-off release samples are included.
Mark V (1984)
Introduced in 1984, the Mark V piano was the last revision of the famous tine-based piano produced by the electric piano manufacturer. It included many enhancements that resulted in a truly excellent instrument.
The Purgatory Creek Soundware Mark V (1984) was deeply sampled at five velocity levels and three velocity layers of note-off release samples are included.
200A
Production of the 200 series reed-based electric piano began in 1968 and continued through the 1970s. It was the most popular of the reed-based pianos and can be found on many recordings throughout that period and beyond. The 200a series offered improved electronics and noise reduction over the original 200.
The Purgatory Creek Soundware 200a was deeply sampled at four velocity levels recorded for the full duration, so you will hear neither loops nor artificial envelope decays. It also includes three velocity layers of release samples.
140B
The 140b electric piano, produced in the early to mid-1960s, uses steel reeds to generate its tone. Though the later 200 and 200a models were more common, the 140 series electric pianos can be heard on numerous recordings made in the 1960s.
The Purgatory Creek Soundware 140b was deeply sampled at four velocity levels recorded for the full duration, so you will hear neither loops nor artificial envelope decays. It also includes three velocity layers of release samples.
Pianet N
The electro-mechanical piano, upon which this sample-set is based, was manufactured between 1965 and 1967. It is a rare reed-based instrument.
The Purgatory Creek Soundware Pianet N was deeply sampled at four velocity levels recorded for the full duration, so you will hear neither loops nor artificial envelope decays. It also includes three velocity layers of release samples.
Clavinet D6
The model D6 was by far the most popular version of the instrument and can be heard on many recordings from the 1970s and beyond.
The three most common pickup settings of D6 (DB, CA, CB) were sampled at five or six velocity layers. Release samples are also included. Emulation of the Clavinet some of the more common filter tab combinations (Brilliant, Treble, Medium, Soft) as well as muting of the strings (via the mod wheel) are provided.
CP70B
The electro-mechanical piano, upon which this sample-set is based, used actual strings rather than tines or reeds giving it a sound closer to a traditional piano, yet still unique.
The Purgatory Creek Soundware CP70b was sampled at three velocity levels.
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