CineSamples Piano in Obscene V2 KONTAKT

We were provided a solitary occasion to corn an portentous song of lilting report in its concluding days. Little Talk had come to us that the red-letter Clinton Recording Studios in midtown Manhattan was forever closing its doors, doomed to be transformed into a up to date condominium complex.

One of the many treasures contained therein was this particular Steinway Standard D Concert Fantastic which used to animate in the Columbia Records 30th Thoroughfare Studios. The CBS 30th Thoroughfare Studio, “The Church” was perhaps the most dominant recording studio of the 50’s and 60’s producing dozens of acclaimed albums in various genres.

Of those recordings this piano played a serious r in two albums which are still considered among the finest recordings of all lifetime. First being the earliest Glenn Gould “Goldberg Variations,” the most critically received weighty album of all lifetime. Four years later came Miles Davis’ “Kind of Blue” which forever altered music.

In 1981 Columbia closed its doors and this piano was brought to Clinton. In uniting to the fantastic two of the earliest Columbia Nuemann U49 microphones made the tour also. These were two of the five (or six) microphones at first used on the Character of Dismal year. We were favoured enough to try this distinctive fantastic using these two earliest microphones.

A old china of ours, John Davis, did a scoring sitting at Clinton and let us know about the closing as this day was to be the concluding year. As the chat drifted from the saddening conditions of affairs for liberal stages we came to talk about why this particular present was a distinctive post. Although I had in the old days worked at the this studio I was never au fait that the fantastic in the corner was the “one piano” used in so many of my favorite recordings.

At the lifetime we were in Seattle conducting some non-cinesamples recordings. Mike and I walked over to touched off a replicate of Ashley Kahn’s paperback Character of Dismal: The Making of the Miles Davis Master-Work. This words pushed us across the start and the materialization for this sitting started to become a reality.

As Patti headed defeat competent in to put the finishing touches on the Seattle launch Barry caught a red-eye that sundown for Manhattan. We had arranged to confer the closing year of Clinton by one day, just ensuring us enough lifetime to try this unreal factor. Much of the tools being used was already up on Ebay. It was the last sitting ever recorded at Clinton.

With a brains to the troublemaker of red-letter pictures from the recording Character of Dismal our set up Tim Starnes (Drums of War, HollywoodWinds, Cinesnares, Cinetoms 2, CineCrash) set up three sets of microphones. The first tandem – the U49’s from old Columbia set up in reliable disposal (note that the earliest was in mono), the two other pairs each set defeat a stack up to further from the other.

We recorded two signal chains for each mic, a dust signal going through the Neve take meals and one going through a red-letter video recording manufacture and in the end into pro tools. We enthusiastically insinuate exploring the charming colorization of the video recording signal but both are provided for your convenience. For some of the youngsters out there note that video recording will vary the touched off of device to strong get better velocity layers and that often engineers go through serious lengths to accomplish this distortion.

Due to the entertaining variances in resonance with each key the piano was sampled chromatically; this was the only way to get a accurate portrayal of the factor. Barry was the pianist for the sampling and he employed a solitary strategy.

1949 Steinway D via Neve 8078 Console
8 Velocity Layers Sampled Chromatically
9300 Samples
3 Microphone Positions
Close/Vintage – 2x Neumann M49 near the lid
Mid – 2x B&K 4007 at the bottom of the piano
Far – 2x Sennheiser MKH20?s in the hall
2 Processing Paths (Tape; Escort in)
Studer A800MKIII 24 Trail Analog Video Recording Machine
Programmed by Sam Estes; scripted by Greg Schlaepfer; recorded by Tim Starnes
As always we partition our yield with our illustrious link up of programmers, engineers, editors and musicians.

NEW Piano in Dismal v2 Performed Update
We added a “Sample Start” projection, located next to the Direct/Tape beat, which will cut into the samples of the sustains by 20ms — this putting right will disconnect all of the hammer/finger disturbance circulate from the factor. While we do not propound using this characteristic, for those with lag issues, this uniting can be useful to frame the piano more “pop-like” — however, it will disconnect the “weighted” climate of the piano.

Video Recording Try Replace
We have re-recorded all the try sets defeat through a solid (not a plugin) Studer video recording manufacture with better leveling to disconnect the “crunch” on the top velocities. ALL samples have been replaced for the video recording environs. We also painstakingly re-denoised all of the samples, so there is very little video recording disturbance circulate buildup in the qualifications. We enthusiastically propound adding a bit of video recording disturbance circulate defeat in to combination the samples together. You will observation some video recording artifacts in some of the samples, but
this is to some extent of the reasonable touched off of using video recording.

Distinctive De-noising of V1 Escort Samples
There were a few samples in the Escort darn that were too cacophonic or had low
frequency bumps — these samples have been addressed and fixed.

Try Fix — F4, Velocity 101-110, Escort-Room
There was a modulated distortion disturbance circulate on this note — this disturbance circulate has been
91-110 lively publicity velocities
There were issues with the shorter publicity samples being too silent in this district — this subject has been fixed.

Various subsidiary adjustments to ADSR curves and some subsidiary quantity tweaks on distinctive samples.

Added CC11 (Ardour) control


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