【音色】Cinesamples Piano in Blue v2.3b KONTAKT

Cinesamples Piano in Blue v2.3b KONTAKT - 10,1 GB

我们获得了一个独特的机会,可以在最后的日子里保留一段重要的音乐历史。对我们说,曼哈顿中城历史悠久的克林顿录音工作室永远关闭,注定要转变为现代化的公寓大楼。其中包含的众多珍宝之一就是这个特别的施坦威Model D Concert Grand,它曾经住在哥伦比亚唱片公司30街工作室。 CBS 30th Street Studio,“The Church”可能是50年代和60年代最具影响力的录音工作室,制作了数十种不同类型的传奇专辑。在这些录音中,这架钢琴在两张专辑中扮演了重要角色,这两张专辑仍被认为是有史以来最好的唱片之一。首先是格伦·古尔德(Glenn Gould)的原作“戈德堡变奏曲”(Goldberg Variations),这是史上最受欢迎的古典专辑。四年后,迈尔斯戴维斯的“蓝色种类”永远改变了音乐。
凭借录制的Kind of Blue少数历史照片,我们的工程师Tim Starnes(战争之鼓,HollywoodWinds,Cinesnares,Cinetoms 2,CineCrash)设置了三套麦克风。第一对 - 来自旧哥伦比亚的M49设?#36855;?#21382;史位置(注意原来是单声道),另外两对每个都设置了一个触摸,每个都比前一个更远。
我们为每个麦克风录制了两个信?#24085;矗?#19968;个干净的信号通过Neve控制台,一个通过历史悠久的磁带机,最后进入Pro Tools。我们强烈建议您探索磁带信号的迷人色彩,但两者都是为了您的方便而提供的。对于那里的一些年轻人 - 请注意,磁带会改变中到高增益速度层的声音,而且工程师经常花费很大的时间来实现这种失真。
 -  1949年施坦威D通过Neve 8078控制台
 -  8个速度层采样色度
 -  9300个样品
 -  3个麦克风位置
 - ?#27573;?复古 - 盖子附近的2x Neumann M49
 -  Mid  -  2x B&K 4007钢琴尾部
 - 远 -  2x Sennheiser MKH20在大厅里
 -  2个处理路径(磁带;直接输入)
 -  Studer A800MKIII 24轨道模拟磁带机
 - 由Sam Estes编程;由Greg Schlaepfer编写;由Tim Starnes录制
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. Of those recordings this piano played a critical role in two albums which are still considered among the finest recordings of all time. First being the original Glenn Gould “Goldberg Variations,” the most critically received classical album of all time. Four years later came Miles Davis’ “Kind of Blue” which forever altered music.
A friend of ours, John Davis, did a scoring session at Clinton and let us know about the closing as this day was to be the final date. As the conversation drifted from the saddening state of affairs for large stages we came to talk about why this particular stage was a special place. Although I had previously worked at the this studio I was never aware that the grand in the corner was the “one piano” used in so many of my favorite recordings.
At the time we were in Seattle conducting some non-cinesamples recordings. Mike and I walked over to secure a copy of Ashley Kahn’s paperback Kind of Blue: The Making of the Miles Davis Masterpiece. This book pushed us across the threshold and the vision for this session started to become a reality.
As Patti headed back home to put the finishing touches on the Seattle project Barry caught a red-eye that night for Manhattan. We had arranged to extend the closing date of Clinton by one day, just ensuring us enough time to sample this extraordinary instrument. Much of the gear being used was already up on Ebay. It was the last session ever recorded at Clinton.
With a mind to the handful of historic pictures from the recording Kind of Blue our engineer Tim Starnes (Drums of War, HollywoodWinds, Cinesnares, Cinetoms 2, CineCrash) set up three sets of microphones. The first pair – the M49’s from the old Columbia set up in historical position (note that the original was in mono), the two other pairs each set back a touch, each further from the previous.
We recorded two signal chains for each mic, a clean signal going through the Neve console and one going through a historic tape machine and finally into Pro Tools. We highly suggest exploring the charming colorization of the tape signal but both are provided for your convenience. For some of the youngsters out there - note that tape will alter the sound of medium to high gain velocity layers and that often engineers go through great lengths to achieve this distortion.
The piano was sampled chromatically exposing delightful variances in timbre with each key. This was the only way to get a true representation of the instrument. Barry was the pianist for the sampling and he employed a unique 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 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
Requires Kontakt FULL 5.3.1 or higher









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