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When we chose to create piano Instruments, we carefully chose which upright piano to start from. * a, v9 w7 Z1 y% I
When facing grand codas, the choice is rather limited, but upright pianos are a totally different world.
& n! r) e' k+ gWe wanted a piano capable of producing both a full sound and the shallow on the edge of being out-! D0 u# _! ^1 ^' t: t
of-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built 3 b/ E+ Q! T; o5 D+ h# t9 [
by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.2 C9 g, k6 X, B* H+ a
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Features& b1 y- a6 {2 r
5.95 GB (lossless compressed) library size, 4688 samples$ N- V* }! S1 |& S7 y
4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set
5 j0 \! \( s L! S$ ]4 C- t8 sustaining dynamic layers, chromatically sampled) @( T* v R+ D6 y" k
4 release trails layers, chromatically sampled
! T. m' s( T ]0 T) ?9 o' iindependently controllable sustain-pedal resonances; Y9 K" `0 w d6 s. h
key-release noise for added authenticity
1 ~& m2 |' M# V2 r; C3 _sustain-pedal down and up noise layers! S+ _8 A& [& F1 _
sampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters" r+ k! C, W& p' J8 P3 N
all of the details of the piano recreated through the use of our custom advanced scripting) x; |" o1 }% L% t( U4 K
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz! f: p5 }$ T9 B) h2 n: E$ L
easy-to-use mixer for extreme sound-mangling- r+ u6 Q% l8 P- R" `
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