+ ?/ V9 p8 f* |2 v# h
( }6 D2 A p6 e. D
( G: Y# `0 J A; {2 k( i# I* e
p* Y7 h6 r* l9 G9 q( v8 e! ^* Y$ C% G/ X" L' u
When we chose to create piano Instruments, we carefully chose which upright piano to start from. / ^$ j+ u+ j7 S: |6 F; G; C
When facing grand codas, the choice is rather limited, but upright pianos are a totally different world. % X5 K5 p; ?- ~4 e
We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
* l1 Y+ U7 K, g7 [% A \! _' Iof-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built 7 p, w/ T; h( ]1 T5 ~ n/ o
by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.
( ~. k, y+ o7 F$ t1 ^' f ]2 ], s" m) p" h+ ?
Features+ D& ^& A, @) s' j
5.95 GB (lossless compressed) library size, 4688 samples) J0 ~6 r6 V; K B/ N
4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set \8 `! v( o# h. j0 }
8 sustaining dynamic layers, chromatically sampled
& t8 @; o2 t; o% p, N4 release trails layers, chromatically sampled
( a4 J: S$ D7 ~& j0 b* [independently controllable sustain-pedal resonances
# @3 W; p4 }% Xkey-release noise for added authenticity
4 P. i6 e8 M% x& K% J& j0 csustain-pedal down and up noise layers
7 u/ \4 j- J% S4 n1 Asampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters
* b- Z+ i( U: {8 Eall of the details of the piano recreated through the use of our custom advanced scripting0 S' V2 O, ~) P. [4 o$ O: g
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
: g6 z( j' H9 k+ x: L Heasy-to-use mixer for extreme sound-mangling* |, }+ ^( Y" `" ]0 r# m) l
! r! J/ i7 k) u f! @" _4 ~
- J4 N1 [1 ?0 v9 V! `' W* R* Z! k1 i7 G3 k5 `
; W# W5 V2 F: a( s B |
