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) r9 n1 ]% ]% yWhen we chose to create piano Instruments, we carefully chose which upright piano to start from. ) I: C" a& x7 p0 z+ R8 q5 M/ f
When facing grand codas, the choice is rather limited, but upright pianos are a totally different world.
( u/ B" M3 [2 h- g( xWe wanted a piano capable of producing both a full sound and the shallow on the edge of being out-
4 J) w+ S( q# t+ C3 D oof-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built
" ^3 f" U, Y; wby Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.
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Features
4 C9 e) r: I' q; W4 A" C5.95 GB (lossless compressed) library size, 4688 samples2 V) b$ O* b/ O6 Z
4 microphone sets: Royer ribbon Blumlein and Spaced, Neumann M149 mono and Oktava stereo room set( B# O( W6 ]' J. d W! c+ J* X
8 sustaining dynamic layers, chromatically sampled
8 \6 P0 ?" O* H( s H1 _; u4 h4 release trails layers, chromatically sampled- }: N( ^( ?# h: g' z% a. b
independently controllable sustain-pedal resonances, Q- |0 @& }4 c: n! k6 D; \
key-release noise for added authenticity
r+ w& W/ h9 b0 e; }* T0 gsustain-pedal down and up noise layers
) q g2 I- t/ ]sampled with Millennia, Neve, SSL and Focusrite preamps fed direct into Apogee converters
5 k$ |/ }1 [- ]% w: ?" ?( Jall of the details of the piano recreated through the use of our custom advanced scripting
* j w, t5 o$ W4 I+ arecorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
& C- D; U. B( s0 y* E3 C1 reasy-to-use mixer for extreme sound-mangling
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