What’s more, over the course of several months, Vienna Symphonic Library team members were trained in preparing and tuning a grand piano accurately by Vienna’s leading piano technicians in order to achieve absolutely consistent tuning and sound characteristics during the entire recording process.Last - but certainly not least - comes the mighty VSL - Vienna Symphonic Library, which is far more than just a library - it’s actually an enormous collection of libraries, offering a whole ecosystem of products dedicated to simulating orchestral instruments to perfection, boasting over six million samples to seamlessly encompass almost every detail possible in an orchestra, save for the moody conductor. Additional hammer sensor feedback allowed for accurate reproduction of special playing techniques such as rapid note repetition and softly-played notes. Its non-contact optical sensors detected every movement of all 88 keys (position, velocity and release velocity) and the pedals (including half-pedaling) with utmost precision, reproducing the most delicate nuances of a human performance. Further, all samples were recorded using the instrument’s integrated, computer controlled performance reproducing system. To protect the piano’s environment and ensure reliable recordings, Synchron Stage Vienna’s integrated system for heating, ventilation and air-conditioning (HVAC) provided very consistent climatic conditions throughout the entire recording process. Like the High Stereo (3D) setup, this A-B array features two AKG C-414 microphones.Īs evidenced by the huge amount of sample data, the recording phase of this Yamaha CFX grand piano project extended over several months, which demanded absolute consistency within the room and for the instrument itself. Used in an Auro 3D or Dolby Atmos mix, these microphones should feed your top or ceiling speakers. The sound is more “sparkling” and reverberant compared to the main mics. In stereo mixes, you can use them as an alternative to your main mics, or you may down-mix these much more diffused signals. Stereo A-B-setup with two AKG C-414 condenser microphones, spotting the very nice reflections of Synchron Stage Vienna’s ceiling. In a surround setup, these microphones would be used for your rear speakers. You may use them as so-called “Wides” or “Outriggers” in a stereo mix in order to create an even more spacious impression. Wide A-B stereo setup with two DPA4011 cardioid microphones. In a surround setup, the Decca tree microphones will be the feed for your front L-R speakers.
Used in a stereo mix, you can easily hear where the piano is placed. These very neutral microphones captured even the smallest detail of Synchron Stage Vienna. “ORTF” setup with a pair of Sennheiser MKH 8040 mics for a centered, but harder and more focused sound than the MID 1 Position.ĭecca Tree array (L-C-R) with three DPA 4006 mics.
“ORTF” setup with a pair of Sennheiser MKH 800 mics for a wide, warm yet bright and centered sound.
“Blumlein” setup with two ribbon figure-eight capsules of a Royer SF-24 mic, for a fast, direct, and natural sound. Ideal for producing the typical “pop piano” sound. “ORTF” setup with a pair of Schoeps MK 4, positioned as closely as possible over the hammer area.
#GARRITAN PERSONAL ORCHESTRA 5 VS NI KOMPLETE 11 FULL#
The Room Mix channel contains a stereo mix of all available room microphones from the Full Library The two "Close" and "MID" microphone positions are ideal for a more player-oriented mix.