黑色Grand MkII-施坦威D三角钢琴
宏伟的施坦威D，在音乐厅录制了真正的音乐会盛大体验。三种不同的麦克风视角，近距离、环境和中等环境，您可以将它们混合在一起。令人难以置信的48个样本/音符切割，这是一款独一无二的采样乐器。
由于采样器已经变得更加先进，黑三角钢琴仍然是我们最受欢迎的钢琴之一，我们决定对其进行更新，并在原有想法的基础上添加一些功能。
在MkII中，所有麦克风视角都包含在内，因此您可以逐一使用，根据口味进行混合！
我们还添加了锤击和踏板噪声样本。
然后我们添加了True Resonance功能，并使用Kontakts脚本工具制作了实时/真实踏板、交感共振和其他一些漂亮的功能，以及Voila:The Black Grand MkII
前景
"特写"视角是用非常靠近琴弦的麦克风录制的。通常情况下，这不是你录制经典作品的方式，但你会发现这种视角给了你一种很好的存在感和才华。尝试这个版本，以获得当面流行音乐或爵士乐的声音，或大胆而激进的功能。一定要先在现场表演中达到这个版本。它具有切入节奏段或支持强大歌手所需的原始优势。你的游戏空间越活跃，近景乐器就越有可能为你工作。
麦克风的高音和低音侧捕捉到近距离视角。米拉布DC-96B（上图）和MG UM30（左）
"中等"视角是使用放置在距离乐器中等距离处的两个麦克风拍摄的。这种观点适用于古典和爵士原声录音，在这些录音中，音调中有一些空间的感觉是可取的。不要害怕在你认为近距离透视是理想的地方尝试这个版本。有时，钢琴上的一点距离实际上可以使混音更容易。每种组合都是不同的，最终的选择总是"混合"
麦克风放置。中等环境视角。纽曼KM84（右）
"环境"视角通常是录制现场古典钢琴演奏（如独奏会）的首选配置。麦克风放置在足够的距离，让声音完全融入房间。你甚至可以说，这个房间真的是这里的特色球员，就像钢琴一样。作为一名演奏者，你对乐器与房间的声学互动方式的反应，与对钢琴本身的反应一样多。如果你想模仿舞台上用其他乐器演奏钢琴的声音，你可能想从这架钢琴开始。也可以尝试钢琴独奏。最终，同样，只有你试图达到的最终组合和情绪才能影响你的决定。
麦克风放置，环境视角。罗德NT5（左）
16个速度级别
5300多个样本
TimeVel发布技术™
心灵共振
钥匙/踏板噪音音量可控
交感共振和真共振的可控体积
三种麦克风视角
24位44.1立体声采样
Black Grand MkII - Steinway D Grand Piano
The magnificent Steinway D, recorded in a concerthall for the true concert grand experience. Three different microphone perspectives, Close, Ambient and Medium Ambiance that you can mix together. Incredible 48 samples/note cut's this sampled instrument in a class of its own.
Since the samplers has been become more advanced and the Black Grand still are one of our most popular pianos, we decided to bring it up to date and add some functions in the line of the original ideas.
In the MkII all microphone perspectives are included so you can use them one by one, of mix to taste!
We also added hammerback and pedalnoise samples.
Then we added our True Resonance feature and used Kontakts scripting facilities to make Real Time/True Pedaling, Sympathetic Resonance and some other nifty features, and, Voila: The Black Grand MkII
The Perspectives
The "Close" perspective was recorded with the microphones placed very close to the strings. Normally, this isn't the way you would record a classical piece, but you will find that this perspective gives you a great presence and brilliance. Try this version for an in-your-face pop or jazz sound, or for bold and aggressive features. Definitely reach for this version first on a live performance. It has the raw edge needed to cut through a pounding rhythm section, or to back up a powerful vocalist. The more live your playing space, the more likely that the Close Perspective instrument will work for you.
The treble and bass side of the microphones capturing the Close Perspective. Milab DC-96B (above) and MG UM30 (left)
The "medium" perspective is taken using two microphones placed at a moderate distance from the instrument. This perspective works well for both classical and acoustic jazz recordings, where the perception of some room in the tone is desirable. Don't be afraid to try this version in places where you might consider the Close Perspective to be ideal. Sometimes a little distance on the piano can actually make it easier to bring up in the mix. Every mix is different, and the ultimate choice is always going to be a "mix thing."
Microphone placement. Medium Ambience perspective. Neuman KM84 (Right)
The "Ambient" perspective is normally the preferred configuration for recording a live classical piano performance, such as a recital. The microphones are placed at a sufficient distance let the tone fully engage the room. You might even say that the room is really the featured player here, as much as the piano. As a player, you are responding as much to the way the instrument is acoustically interacting with the room as you are to the piano itself. You might want to start with this piano if you are seeking to emulate the sound of a piano being played onstage with other instruments. Try it for solo piano work as well. Ultimately, again, only the final mix and mood you're trying to achieve can inform your decision.
Microphone placement, Ambient perspective. Rode NT5 (Left)
16 velocity levels
More then 5300 samples
TimeVel Release Technology ™
Sympathetic Resonance
Controllable volume for key/pedal noise
Controllable volume for Sympathetic Resonance and True Resonance
Three microphone perspectives
24 bit 44.1 stereo samples |
