当我们选择制作钢琴乐器时，我们仔细选择了从哪架立式钢琴开始。面对大尾声时，选择相当有限，但立式钢琴则完全不同。我们想要一架钢琴，既能发出饱满的声音，又能发出许多历史录音所特有的浅薄的、几乎走调的音调。我们采样了一架由 Steinbach 在都灵制造的精美的意大利立式钢琴，并将其放置在一个中型宽敞的录音室中，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麦克风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。正因为如此，我们使用的麦克风比最终使用的要多得多。

麦克风的选择这些是我们在多次播放和聆听编辑后的样本后精心挑选的麦克风：

一对 Royer R121 匹配对，采用一致的 Blumlein 配置

另一对 Royer R121 匹配对，采用间隔配置

一个 Neumann M149 电子管麦克风，从非常特殊的位置拾取声音

一对匹配的 Oktava MK101 拾音头，用于拾取生动的房间声音

这些麦克风，无论是单独使用还是组合使用，都能为您提供您可能想象到的直立式钢琴中最广泛的音色范围。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。

When we chose to create piano Instruments, we carefully chose which upright piano to start from. When facing grand codas, the choice is rather limited, but upright pianos are a totally different world. We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-of-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built by Steinbach in Torino and placed it in a mid-size roomy studio 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.

View fullsizeSo Many Mics!

Choice of MicrophonesThese are the Mics we carefully selected after multiple playing and listening sessions on the edited samples:

a Royer R121 matched-pair in a coincident Blumlein configuration

another Royer R121 mathced.pair in a spaced configuration

a single Neumann M149 tube mic picking up sound from a very particular position

a pair of matched Oktava MK101 capsules to pick up the lively room sound

支持系统：Windows.MAC

加载方式：Kontakt 7. Kontakt 8加载

文件大小：5.6GB