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When we chose to create piano Instruments, we carefully chose which upright piano to start from.
3 W2 O2 y0 T9 lWhen facing grand codas, the choice is rather limited, but upright pianos are a totally different world. 7 V1 s. Y$ {% w4 H: C
We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
- B$ j& |% |8 tof-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built $ R' y' E" g/ K: ~6 C
by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.1 w1 ~3 ?; S7 J, h4 E8 ?, O
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Features
! a" Y! Q2 o. H; O: m5.95 GB (lossless compressed) library size, 4688 samples0 w7 o6 d" X1 E* t
4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set' T# \0 B$ S6 W# s7 k
8 sustaining dynamic layers, chromatically sampled5 h4 R2 z3 ~3 b' r6 g
4 release trails layers, chromatically sampled# T& i4 l! n' ^3 ^
independently controllable sustain-pedal resonances( w8 F5 O/ S! a8 t$ {& x8 r/ e
key-release noise for added authenticity
9 C) g3 N; T/ l0 w4 z2 xsustain-pedal down and up noise layers
" ?; Y9 u, m$ v/ |* \; ^2 Ksampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters& ~7 L# u6 W3 K' H
all of the details of the piano recreated through the use of our custom advanced scripting' h, G" ]9 q2 s" `
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz9 `; A$ A9 n) ]' ^ @; ?
easy-to-use mixer for extreme sound-mangling2 f3 h# L' T! E2 E5 d5 y$ m
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