Cinesamples Piano in Blue 2.0 KONTAKT SCD DVDR | 10.03 GB
Team SONiTUS | Dec 2013
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.
In 1981 Columbia closed its doors and this piano was brought to Clinton. In addition to the grand two of the original Columbia Nuemann U49 microphones made the journey also. These were two of the five (or six) microphones originally used on the Kind of Blue date. We were fortunate enough to sample this special grand using these two original microphones.
- 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
- As always we share our revenue with our brilliant team of programmers, engineers, editors and musicians.
NEW Piano in Blue v2 Complete Update
We added a “Sample Start” knob, located next to the Direct/Tape switch, which will cut into the samples of the sustains by 20ms — this adjustment will remove all of the hammer/finger noise from the instrument. While we do not recommend using this feature, for those with lag issues, this addition can be useful to make the piano more “pop-like” — however, it will remove the “weighted” feel of the piano.
- Tape Sample Replace
We have re-recorded all the sample sets back through a physical (not a plugin) Studer tape machine with better leveling to remove the “crunch” on the top velocities. ALL samples have been replaced for the tape setting. We also painstakingly re-denoised all of the samples, so there is very little tape noise buildup in the background. We highly recommend adding a bit of tape noise back in to blend the samples together. You will notice some tape artifacts in some of the samples, but this is part of the natural sound of using tape.
- Individual De-noising of V1 Direct Samples
There were a few samples in the Direct patch that were too noisy or had low frequency bumps — these samples have been addressed and fixed.
- Sample Fix — F4, Velocity 101-110, Direct-Room
There was a modulated distortion noise on this note — this noise has been removed.
- 91-110 quick release velocities
There were issues with the shorter release samples being too quiet in this region — this issue has been fixed.
- Various minor adjustments to ADSR curves and some minor volume tweaks on individual samples.
- Added CC11 (Expression) control