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3 j8 y2 H7 j# DWhen we chose to create piano Instruments, we carefully chose which upright piano to start from. 8 c" D3 s9 Y! a2 I
When facing grand codas, the choice is rather limited, but upright pianos are a totally different world.
" h5 f. [" R, G) qWe wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
, b6 M5 ^1 R: [( s8 wof-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built
3 z/ P X5 N- Jby Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.
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Features4 \) o# F% s; B/ J+ R$ i) M
5.95 GB (lossless compressed) library size, 4688 samples
4 I! Y- x5 e" }& z$ a4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set0 r" |+ }. C2 t$ X( {7 Q
8 sustaining dynamic layers, chromatically sampled
& Y- {" q' ~& k" }+ O4 release trails layers, chromatically sampled/ c- G% m s8 x
independently controllable sustain-pedal resonances5 S& e. \6 X9 u0 q, m
key-release noise for added authenticity' {% U, J/ ]' L' a4 k$ f$ Q
sustain-pedal down and up noise layers K2 _- T2 [" e9 x8 x3 }6 s
sampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters
8 [7 J+ k; c7 gall of the details of the piano recreated through the use of our custom advanced scripting
6 y* L) q3 I y/ Z+ grecorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
1 R# C: v: E- q' w C' `easy-to-use mixer for extreme sound-mangling1 X9 ~, K2 D; Q7 m5 J
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