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When we chose to create piano Instruments, we carefully chose which upright piano to start from.
5 ]5 [- K) t, b3 ^1 F) SWhen facing grand codas, the choice is rather limited, but upright pianos are a totally different world. * h. `/ k" K) H2 C0 W' Z7 d5 Z6 m0 I
We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-) ^, y# I. @; P$ u
of-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built
$ x! m1 y, ^! b( K7 y, P) @) }& V! J! xby Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.! F- m. X2 S5 k3 Z0 E
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Features. ]) @7 J4 P( G, s$ a7 t$ N
5.95 GB (lossless compressed) library size, 4688 samples
H, B/ [4 v$ b4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set! |2 I" I" V! E; d7 M
8 sustaining dynamic layers, chromatically sampled1 n j7 f2 r0 R& x
4 release trails layers, chromatically sampled" _3 j( o3 Z, Z/ g* D3 Y
independently controllable sustain-pedal resonances
1 @9 J* I% ]- P: Z! _( Fkey-release noise for added authenticity) r9 W# d$ O/ f
sustain-pedal down and up noise layers
& c# Z+ V: X$ @( n% E6 o7 Csampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters/ ]9 z5 {' }! J% f
all of the details of the piano recreated through the use of our custom advanced scripting b) d1 ?9 M7 L O4 {" q
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
- M1 p/ [ r+ y+ Q& m9 feasy-to-use mixer for extreme sound-mangling* m# l. f }$ A0 S- D8 {
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