D 型大钢琴的采样来自汉堡制造的 1939 年斯坦威 D274 大尾钢琴。这架特殊的钢琴曾在意大利的各个场所使用，并受到许多顶级国际古典和爵士乐演奏家的演奏和称赞。这架钢琴的年代绝对保证了它拥有复古的绰号，尽管如此，多年来它还是经过了高技能意大利技术人员的妥善维护和修复。它与通过它演奏的所有美妙音乐完全产生共鸣。我们在一个中型大厅里采样了这段历史，周围环绕着大量麦克风。

微距麦克风我们从一开始就不满足于一对或有限的麦克风选择，我们希望确保钢琴在采样和编辑过程后有最好的机会保留其灵魂，这是很难实现的。正是出于这个原因，我们使用的麦克风比最终使用的要多得多。

modelD_mic1.jpgmodelD_mic2.jpg麦克风的选择这些是我们在多次播放和聆听编辑过的样本后精心挑选的麦克风：

一对 Schoeps CMC6 和 MK4 心形拾音头配对，放置在演奏者的位置

一对 Neumann KM184 配对，放置在打开的盖子边缘，从听众的角度看

一个 AKG C12 电子管麦克风，拾取盖子的声音，听众的位置

一对匹配的 Neumann M149 麦克风，从中距离拾取声音

这些麦克风，无论是单独使用还是组合使用，都可以为您提供顶级音乐会钢琴所需的最广泛的音色范围。为了保持音调平衡，我们甚至仔细地对所有麦克风进行了相位对齐。

The Model D grand piano was sampled from a Hamburg-made 1939 Steinway D274 grand coda piano. This particular piano has been in use in various venues in Italy and has been played and praised by many top-level international classical and jazz players. This piano’s age definitely guarantees it the vintage moniker, nonetheless it went through proper maintenance and restoration over the years by highly-skilled italian technicians. It totally resonates with all of the great music played through it. We sampled this piece of history in a medium-size hall surrounded by a plethora of microphones.

Macro-phonesWe didn’t settle for a single pair or a limited selection of microphones from the start, we wanted to make sure that the piano, after the sampling and editing process had the best chances to preserve its soul, something which can be hard to achieve. For this very reason, we used many more microphones than the ones we ended up with.

modelD_mic1.jpgmodelD_mic2.jpgChoice of MicrophonesThese are the Mics we carefully selected after multiple playing and listening sessions on the edited samples:

a Schoeps CMC6 with MK4 cardiod capsules matched-pair placed at the player’s position

a Neumann KM184 matched-pair placed right on the edge of the open-lid with a listener’s perspective

a single AKG C12 tube mic picking up the sound from the lid, listener’s position

a pair of matched Neumann M149 mics to pick up the sound from a medium distance

These microphones, by themselves or combined, give you the widest possible gamut of tonal colors you might need from a top-notch concert piano. To preserve tonal balance, we even carefully phase-aligned all of the microphones.

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