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When we chose to create piano Instruments, we carefully chose which upright piano to start from.
1 U) o- l6 I4 }1 @ f! IWhen facing grand codas, the choice is rather limited, but upright pianos are a totally different world. 9 |6 R+ Q% A0 A
We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
) F( B. a7 x9 H- f4 Bof-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built & Y' k; B$ E+ |
by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.( r$ w0 P+ B4 M, a; i
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Features5 ?/ t8 b7 b' K
5.95 GB (lossless compressed) library size, 4688 samples
* y/ t- l! t$ _- C4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set4 H/ B* s z" {+ C* Z+ w7 B" n
8 sustaining dynamic layers, chromatically sampled
8 s9 _2 H' w( s! ^! k* ^ d; W2 _4 release trails layers, chromatically sampled! p6 Z8 {. n# O4 M5 l' G
independently controllable sustain-pedal resonances0 c% O/ _7 f( h; r! J; T! u
key-release noise for added authenticity
6 E6 v/ {, Z$ S2 `sustain-pedal down and up noise layers
+ E3 I! u1 g' w/ jsampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters
1 q/ I7 p* h2 n. |0 q6 t( X- Z% _$ qall of the details of the piano recreated through the use of our custom advanced scripting& E4 Y' e. V6 A
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz9 J' E/ F0 ^ [, ^+ q
easy-to-use mixer for extreme sound-mangling! C W/ w) q7 I; S8 Y
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