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Piano in Blue V2 KONTAKT
SCHNiTZ3L | 18 November 2013 | 9.85 GB
We were provided a unique opportunity to preserve an important piece of musical history in its final days. Word had come to us that the historic Clinton Recording Studios in midtown Manhattan was forever closing its doors, destined to be transformed into a modern condominium complex. One of the many treasures contained therein was this particular Steinway Model D Concert Grand which used to live in the Columbia Records 30th Street Studios. The CBS 30th Street Studio, “The Church” was perhaps the most influential recording studio of the 50’s and 60’s producing dozens of legendary albums in various genres.
1949 Steinway D via Neve 8078 Console
8 Velocity Layers Sampled Chromatically
3 Microphone Positions
Close/Vintage – 2x Neumann M49 near the lid
Mid – 2x B&K 4007 at the tail of the piano
Far – 2x Sennheiser MKH20′s in the hall
2 Processing Paths (Tape; Direct in)
Studer A800MKIII 24 Track Analog Tape Machine
Programmed by Sam Estes; scripted by Greg Schlaepfer; recorded by Tim Starnes
As always we share our revenue with our brilliant team of programmers, engineers, editors and musicians.
NEW Piano in Blue v2 Complete Update Latency
We added a “Sample Start” knob, located next to the Direct/Tape switch, which will cut into the samples of the sustains by 20ms — this adjustment will remove all of the hammer/finger noise from the instrument. While we do not recommend using this feature, for those with lag issues, this addition can be useful to make the piano more “pop-like” — however, it will remove the “weighted” feel of the piano.
Tape Sample Replace
We have re-recorded all the sample sets back through a physical (not a plugin) Studer tape machine with better leveling to remove the “crunch” on the top velocities. ALL samples have been replaced for the tape setting. We also painstakingly re-denoised all of the samples, so there is very little tape noise buildup in the background. We highly recommend adding a bit of tape noise back in to blend the samples together. You will notice some tape artifacts in some of the samples, but
this is part of the natural sound of using tape.
Individual De-noising of V1 Direct Samples
There were a few samples in the Direct patch that were too noisy or had low frequency bumps — these samples have been addressed and fixed.
Sample Fix — F4, Velocity 101-110, Direct-Room
There was a modulated distortion noise on this note — this noise has been removed.
91-110 quick release velocities
There were issues with the shorter release samples being too quiet in this region — this issue has been fixed. Various minor adjustments to ADSR curves and some minor volume tweaks on individual samples.