Refraction: Spectral Piano Instrument for Kontakt by Sonora Cinematic

The mixer offers four main microphone positions plus an echo signal, which can be blended while keeping the signals phase-coherent. The close ribbon pair is described as warm and intimate, with a focus on the hammer action. A close small-diaphragm condenser adds crisp definition, and two rear microphones add depth and low-end weight. A room ribbon microphone captures some studio ambience and can add colour to the main signals. The echo signal comes from a vintage tape echo running a worn tape loop, which gives a warbling, dirty character.

Because the piano microphones and the resonator are separate, you can work with the acoustic piano tone, the echo texture or both.

The interface uses sliders for a set of resonant band-pass filters. Their centre frequencies are assigned automatically to the fundamental of each played note and its first six harmonics, polyphonically. Each slider sets the volume and panning of its harmonic.

The Resonance Bloom control sits at the centre of the interface and is mapped to the mod wheel by default, though it can be reassigned. It boosts selected harmonics and enhances their resonance. The resonator works on the tails of held notes and can be driven by either the close-mic submix or the echo signal. Muting the piano microphones lets you play the resonance alone.

Three ambience types are included: an algorithmic room reverb, a granular reverb and a shimmering reverb. Any two can be used at the same time.

Refraction fits composers writing piano parts that need to blend into pads, film-style beds and hybrid acoustic-electronic arrangements. Producers can use the resonator-only approach to turn held piano notes into sustained textures. It is also useful for sound designers who want piano-based material that evolves over time rather than a straight piano sample.