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When we chose to create piano Instruments, we carefully chose which upright piano to start from.
' s; u$ v. p. u3 s% A/ YWhen facing grand codas, the choice is rather limited, but upright pianos are a totally different world. 7 o4 F+ B) o" r+ W
We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
" W1 P6 O0 G# ~' I! ?of-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built
; U/ W& Z+ o2 ?3 x3 ?by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.2 ^; r5 l6 O/ S5 o: u
5 U; d# Q- i4 |8 hFeatures
$ ?; t6 c0 u( ^5.95 GB (lossless compressed) library size, 4688 samples) U) S# c& m: k3 U* v) c/ R
4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set
% J* G0 Z: s: C% w1 g* V/ g) M9 y8 sustaining dynamic layers, chromatically sampled" [! m1 t6 Y: W, [: c" f4 A
4 release trails layers, chromatically sampled h. p: O `, {+ a5 N6 Y, i+ e. M" y8 h
independently controllable sustain-pedal resonances2 [( B) \9 L n! H& {4 b
key-release noise for added authenticity
" J# |- L# m! Z$ Hsustain-pedal down and up noise layers. g L/ ^2 R. S% E- H" V
sampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters& U! |: y6 O# D7 s7 O D) a
all of the details of the piano recreated through the use of our custom advanced scripting# H9 o. n0 b* i
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
+ x% b9 f- T' ^" \easy-to-use mixer for extreme sound-mangling/ L6 B9 C1 _: x4 |1 C3 [
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