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( P; L4 _+ b- D+ V& B+ m9 |; w# vWhen we chose to create piano Instruments, we carefully chose which upright piano to start from.
4 O' h! }1 u5 Y; ^) I7 l# E8 dWhen facing grand codas, the choice is rather limited, but upright pianos are a totally different world.
. i# s" K' m. W& a$ v3 NWe wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
, \1 ?. N- {) P2 g7 i' n2 \! a( L2 ~( Cof-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built
) t* f! n/ q7 n3 N; fby Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.* \, n, U/ f* ~
2 U: }. P+ d1 o* ?' `6 {Features: J2 p$ _6 U n+ s
5.95 GB (lossless compressed) library size, 4688 samples* P$ u1 ]6 K$ |/ Z+ {" V
4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set
( U4 q- y. t+ {! l5 O2 t; I, Z8 sustaining dynamic layers, chromatically sampled
5 E6 |% ?, G* _9 x& m2 O4 release trails layers, chromatically sampled0 B, J: o t( J4 J8 j
independently controllable sustain-pedal resonances
4 o C! B% e& O: Ikey-release noise for added authenticity
& h2 P1 j3 X6 c- B% h J2 t6 l6 Tsustain-pedal down and up noise layers
' q* r% o* \* ?, Vsampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters
/ M0 W, S# s$ x7 E) Q1 {$ W0 e) @all of the details of the piano recreated through the use of our custom advanced scripting
. G5 m( g: ]3 `# X: ?recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
' m1 T6 ^' ~: _easy-to-use mixer for extreme sound-mangling- `3 i2 L, U! E& W( I2 {
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