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D B5 a% L2 {) B2 jWhen we chose to create piano Instruments, we carefully chose which upright piano to start from.
8 r9 F! ~+ D$ f5 x7 jWhen facing grand codas, the choice is rather limited, but upright pianos are a totally different world. ( C: E) r$ @( z0 ^7 ~4 _
We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
0 Q: }2 F/ Z8 C* e. E* C& l6 B$ uof-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built
8 g' ?4 U5 r+ G" Xby Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.5 c' r% A$ j. i9 D/ Q
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Features
. ]4 B% `; @4 X5.95 GB (lossless compressed) library size, 4688 samples
8 f4 `) L0 I1 x) P4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set: z: ^+ n1 a( n9 T6 O l& W3 V9 w& o$ \3 }
8 sustaining dynamic layers, chromatically sampled
% k9 P- t7 ]+ E" j2 V" s, ?9 E2 _4 release trails layers, chromatically sampled w7 c) ~/ j# J
independently controllable sustain-pedal resonances3 _( @" q& S+ d3 v( X5 A2 C
key-release noise for added authenticity
9 K j9 T8 z; ]0 U4 I; Ysustain-pedal down and up noise layers' ^9 S; S( S2 N9 R k( r; v
sampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters
/ W0 |% E1 b7 Q5 jall of the details of the piano recreated through the use of our custom advanced scripting
5 a$ |& ]" e( K) s8 G" grecorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz9 ?$ ?& m8 M! o8 |5 k0 [4 K- R. X
easy-to-use mixer for extreme sound-mangling
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