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ÇáãæÖæÚ: ÈÑÇãÌ ÇáåäÏÓÉ ÇáÕæÊíÉ Çáíßã ÈÑäÇãÌ - Sampletekk WG2 MkII Studio Grand Piano

  1. #1

    ÈÑÇãÌ ÇáåäÏÓÉ ÇáÕæÊíÉ Çáíßã ÈÑäÇãÌ - Sampletekk WG2 MkII Studio Grand Piano












    ÈÑÇãÌ ÇáåäÏÓÉ ÇáÕæÊíÉ Çáíßã ÈÑäÇãÌ - Sampletekk WG2 MkII Studio Grand Piano



    When we recorded the White Grand and the White Sister our goal was not to create ”the ultimate Grand Piano”. Since a Grand Piano can be used in so many ways, from playing Mozart to hammer out Jerry Lee or Little Richard stuff and everything in between, we realized that there isn’t anything that could be considered ”The ultimate Grand Piano” in the world of multisampled instruments

    We wanted to make the ”Ultimate Studio Grand Piano” that would work in a recording session for more contemporary styles of music. It would simply sit well in a mix!

    We very lucky enough to find this fantastic instrument, an old, LARGE, Malmsjö Grand piano from around 1910, that had the clarity needed to work in a modern production, but also, at the same time, had the richness at well contoured bass side that would provide the power needed on the lower part of the keyboard without getting muddy.

    We recorded two versions using different microphone combinations. One close and one a bit more ambient. The first resulted in the White Grand, and the second in the White Sister.

    16 velocity levels
    More than 2900 samples
    TimeVel Release Technology ™
    Sympathetic Resonance
    Real Pedaling
    Controllable volume for key/pedal noise
    Two different mixable microphone perspectives
    Controllable volume for Sympathetic Resonance and Resonance
    24 bit 44.1 stereo samples




    les caractéristiques du programme en français



    Essayez avec cette orthographe : When we recorded the White Grand and the White Sister our goal was not to create ”the ultimate Grand Piano”. Since a Grand Piano can be used in so many ways, from playing Mozart to hammer out Jerry Lee or Little Richard stuff and everything in between, we realized that there isn’t anything that could be considered ”The ultimate Grand Piano” in the world of multi sampled instruments We wanted to make the ”Ultimate Studio Grand Piano” that would work in a recording session for more contemporary styles of music. It would simply sit well in a mix! We very lucky enough to find this fantastic instrument, an old, LARGE, Malmsjö Grand piano from around 1910, that had the clarity needed to work in a modern production, but also, at the same time, had the richness at well contoured bass side that would provide the power needed on the lower part of the keyboard without getting muddy. We recorded two versions using different microphone combinations. One close and one a bit more ambient. The first resulted in the White Grand, and the second in the White Sister. 16 velocity levels More than 2900 samples TimeVel Release Technology ™ Sympathetic Resonance Real Pedaling Controllable volume for key/pedal noise Two different mixable microphone perspectives Controllable volume for Sympathetic Resonance and Resonance 24 bit 44.1 stereo samples
    Quand on a enregistré le Grand Blanc et Sœur White notre objectif ne était pas de créer "le Grand Piano ultime". Depuis un Grand Piano peut être utilisé à bien des égards, de jouer Mozart à forger Jerry Lee ou Little Richard choses et tout le reste, nous avons réalisé qu'il n'y a rien qui puisse être considéré comme «Le Grand Piano ultime" dans le monde instruments de multisamplées

    Nous voulions faire le "Ultimate Studio Grand Piano», qui travaillerait en une session d'enregistrement pour des styles plus contemporains de la musique. Il serait tout simplement se asseoir bien dans un mix!

    Nous très assez chanceux pour trouver cet instrument fantastique, un vieux, LARGE, Malmsjö piano à queue du monde 1910, qui avait la clarté nécessaire pour travailler dans une production moderne, mais aussi, en même temps, a eu la richesse au côté puits de basse profilée qui fournirait la puissance nécessaire sur la partie inférieure du clavier sans devenir boueux.

    Nous avons enregistré deux versions utilisant différentes combinaisons de microphones. Une étroite et une un peu plus ambiant. La première a abouti à Grand Blanc, et le second dans la Sœur White.

    16 niveaux de vélocité
    Plus de 2900 échantillons
    TimeVel sortie Technology ™
    résonance sympathique
    Pédaler réel
    Le volume réglable pour clavier / bruit de pédale
    Deux perspectives de microphones différents miscibles
    Le volume contrôlable pour sympathique et Resonance Resonance
    24 bits 44,1 échantillons stéréo




    ãíÒÇÊ ÇáÈÑäÇãÌ ãÊÑÌãÉ ÈÇááÛÉ ÇáÚÑÈíÉ


    Essayez avec cette orthographe : When we recorded the White Grand and the White Sister our goal was not to create ”the ultimate Grand Piano”. Since a Grand Piano can be used in so many ways, from playing Mozart to hammer out Jerry Lee or Little Richard stuff and everything in between, we realized that there isn’t anything that could be considered ”The ultimate Grand Piano” in the world of multi sampled instruments We wanted to make the ”Ultimate Studio Grand Piano” that would work in a recording session for more contemporary styles of music. It would simply sit well in a mix! We very lucky enough to find this fantastic instrument, an old, LARGE, Malmsjö Grand piano from around 1910, that had the clarity needed to work in a modern production, but also, at the same time, had the richness at well contoured bass side that would provide the power needed on the lower part of the keyboard without getting muddy. We recorded two versions using different microphone combinations. One close and one a bit more ambient. The first resulted in the White Grand, and the second in the White Sister. 16 velocity levels More than 2900 samples TimeVel Release Technology ™ Sympathetic Resonance Real Pedaling Controllable volume for key/pedal noise Two different mixable microphone perspectives Controllable volume for Sympathetic Resonance and Resonance 24 bit 44.1 stereo samples
    ÚäÏãÇ ÓÌáäÇ ÌÑÇäÏ ÇáÃÈíÖ æÇáÃÎÊ ÇáÃÈíÖ áã íßä åÏÝäÇ åæ ÎáÞ "Úáì ÈíÇäæ Ýí äåÇíÉ ÇáãØÇÝ". ãäÐ ÈíÇäæ ßÈíÑ íãßä ÇÓÊÎÏÇãåÇ Ýí ÇáÚÏíÏ ãä ÇáØÑÞ¡ ãä ÇááÚÈ ãæÒÇÑÊ ááÊæÕá ÌíÑí áí Ãæ áíÊá ÑíÊÔÇÑÏ ÇáÇÔíÇÁ æÈíä Ýí ßá ÔíÁ¡ ÃÏÑßäÇ Ãäå áÇ íæÌÏ Ãí ÔíÁ íãßä Ãä íÚÊÈÑ "ÇáÈíÇäæ ÇáßÈíÑ ÇáäåÇÆí" Ýí ÇáÚÇáã Õßæß multisampled

    ÃÑÏäÇ Ãä äÌÚá "Ýí äåÇíÉ ÇáãØÇÝ ÓÊæÏíæ ÈíÇäæ" ÇáÊí ãä ÔÃäåÇ Ãä ÊÚãá Ýí ÌáÓÉ ÊÓÌíá áãÒíÏ ãä ÇáÃÓÇáíÈ ÇáãÚÇÕÑÉ ááãæÓíÞì. ÇäåÇ ÈÈÓÇØÉ ÇáÌáæÓ ÈÔßá ÌíÏ Ýí ãÒíÌ!

    ßäÇ ãÍÙæÙíä ÌÏÇ ÈãÇ Ýíå ÇáßÝÇíÉ ááÚ辄 Úáì åÐÇ ÇáÕß ÑÇÆÚÉ¡ ÞÏíãÉ¡ ßÈíÑÉ¡ Malmsjö ÇáßÈÑì ÇáÈíÇäæ ãä ÌãíÚ ÃäÍÇÁ ÚÇã 1910. æåÐÇ ßÇä æÖæÍ ÇááÇÒãÉ ááÚãá Ýí åÏÝ ÅäÊÇÌ aussi ÇáÍÏíË¡ Ýí ÇáæÞÊ ÓÇãí¡ ßÇä ËÑÇÁ áã ÇÍíØ ÌíÏÇ ÇáÌÇäÈ ÈÇÓ åá Ãä ÊæÝíÑ ÇáØÇÞÉ ÇááÇÒãÉ Ýí ÇáÌÒÁ ÇáÓÝáí ãä áæÍÉ ÇáãÝÇÊíÍ Ïæä ÇáÍÕæá Úáì ÇáãæÍáÉ.

    ÓÌáäÇ äÓÎÊíä ÈÇÓÊÎÏÇã ÊÑßíÈÇÊ ãíßÑæÝæä ãÎÊáÝÉ. æÇÍÏ æËíÞÉ æÇÍÏÉ ÇáÌæ ÃßËÑ ÞáíáÇ. æÃÏì Ãæá ãÑÉ Ýí ÇáÃÈíÖ ÇáßÈíÑ¡ æÇáËÇäíÉ Ýí ÇáÃÎÊ ÇáÃÈíÖ.

    16 ãÓÊæíÇÊ ÇáÓÑÚÉ
    ÃßËÑ ãä 2900 ÚíäÇÊ
    TimeVel ÇáÅÕÏÇÑ ÊÞäíÉ ™
    ÇáÑäíä ãÊÚÇØÝÉ
    ÊåÏíÏÇÊåÇ ÇáÍÞíÞíÉ
    ÍÌã ÇáÓíØÑÉ ÚáíåÇ áãÝÊÇÍ / ÇáÖæÖÇÁ ÏæÇÓÉ
    ãäÙæÑíä ãÎÊáÝíä ãíßÑæÝæä ÞÇÈá ááãÒÌ
    ÍÌã ÇáÓíØÑÉ ÚáíåÇ áãÊÚÇØÝ ÇáÑäíä æÇáÑäíä
    44.1 ÚíäÇÊ ÓÊíÑíæ 24 ÈÊ





    áãÒíÏ ÇáÊÝÇÕíá Úä ÇáÈÑäÇãÌ ÊÇÈÚ ÚÈÑ ÇáÑÇÈØ ÇáÊÇáí

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