GRANDIOSO YAMAHA C7 - Post Musical Instruments
Transcription
GRANDIOSO YAMAHA C7 - Post Musical Instruments
GRANDIOSO YAMAHA C7 CREDITS Produced by: Post Musical Instruments Recording engineer: Michiel Post Piano technician: Dolf van den Assem Samples & Giga programming: Michiel Post Artwork: Michiel Post Thanks to all the wonderful people who so kindly helped me making this library! Just to name a few: Bruce Richardson, Bruce Mitchell, Chris Nicolaides, SCARBEE, Kip McGinnis, Nick Phoenix, Doug Rogers, Worra, Hans Adamson, Gary Garritan, Garth Garje, Martin Jann, Zahir Manhir, John Thomas, John Thomas temps, John Grant, Henri Lantsheer, Philip Hartog, Danielle van Kesteren, PapaChalk, Wendy Carlos, Jan Panis, Howland Auchincloss, Jan Vayne, Ivo Jansen, and the 2many others I forget! About the YAMAHA C7 CONSERVATORY Grand Piano The YAMAHA C7 is appearing on famous concert stages, international competitions and prestigious music events throughout the concert world. The Yamaha C Series grand piano is by far the most popular piano that is versatile enough for pop, jazz and rock recording, yet is arguably expressive enough for successful traditional and classical recordings. The 7-foot, 4-inch model is my favorite pop piano, with a bright tone, strong overtones and a moderately strong bass. You come across a lot of these pianos in recording studios around the world and you will find them to be very consistent. A well-maintained Yamaha C7 almost always produces satisfying recording and performing results. This library provides the greatest possible control during the softest pianissimo, through crescendos to the reserves of power needed for the loudest fortissimo. Utilizing new technology to optimise the mechanical performance of the action, Post Musical Instruments has created a product which leaves the pianist in total control of dynamic response, timbre and touch. This library gives you the control over the exact position of the microphone perspective. You have both Close and Ambient mic’s and have the option to mix them to match the sound you want to create. The 7' 6" Concert Collection Grand Piano Permanent Crown Solid Soundboard Yamaha utilizes a process that creates a permanent crown in the soundboard and at the same time minimizes soundboard cracking. Solid Spruce Soundboard Solid spruce, rather than laminated spruce or poplar, is used for the best amplification of 3 sound, best tone and sustain. Full length Ribs Yamaha reinforces the crown in its soundboards by using ribs that continue to the edge of the soundboard, and are glued into the notched liner (or inner rim on the grand piano). V-Pro Plate Yamaha uses V-Pro (Vacuum Shield Mold Process) in casting the iron frame (plate). Balanced Action Each key of a Yamaha piano is individually tested and measured for the corrections needed to obtain uniform "down weight" pressure. Uniform Key Travel Yamaha designs all grand and vertical pianos to have the same key travel. Spruce Keys Yamaha uses Spruce for the keys. Spruce is very light and possesses a very high ratio of strength to weight. Specifications: Depth: (Length) 7'6" (227 cm) Height: 40 inches (102 cm) Width: 61 inches (155 cm) Net Weight: 873 lbs (397 kg) Soundboard: 2666 square inches Speaking length of #1 bass string: 66.2 inches Number of backposts: 4 White Keys: Ivorite Black keys: WPC (Wood Composite) Duplex Scaling: YES Tone Collector: YES Middle pedal function: Sostenuto "Soft-Close" Fallboard: YES Recording concepts When we planned this library we faced the next concept: - Choice of close and distant micing. We wanted to record a grand piano with both techniques to satisfy both camps and ensure that the sample would have enough brilliance or natural ambience for its specific application. - As many velocity levels as possible. In order to achieve a smooth response over the whole keyboard we wanted as many velocity layers as possible. - Pedal down and pedal up samples. - Reverberating release samples – if possible we wanted to record the piano in a concert hall. - Above all, a full bodied, consistent, well maintained instrument. One of the biggest strengths with any sampled grand piano is the regularity across the keyboard, the absolute right tuning and the level of maintenance. We wanted a crystal clear recording. … a highly accurate reproduction of the sound of the more distant air (where the overtones "mingle") and vibrating wood that create much of the timbre. About the recording A concert grand piano is among the largest and most versatile acoustical instruments in the world. Capturing the natural timbre and the full dynamics of such an instrument is very complicated. Furthermore, the grand piano interacts with the room in which it is placed and the recording method requires independent consideration in each situation and each location. Even how it is played will influence the choice of microphone techni4 que. The room acoustics are such an important factor when recording a concert grand piano, that it is important to assess whether the room will do justice to the instrument or not. A concert grand piano is build for playing in concert halls where the reverberation times normally are acoustically tuned between 0,9 seconds to 1,3 seconds at 500 Hz and the room volume is minimum10.000 cubic meters. Concert halls specially designed for playing Wagner can even have reverberation times around 2 seconds. With the lid open, the concert grand piano is capable of giving a full musical experience to the audience throughout the hall. This must be taken into account when recording in a recording studio. Finding a good location with a well tuned grand piano is the first thing to do and the hardest. When you listen to a piano in a concert setting the hearing distance is much larger and the overall reflections of the concert hall have added up and summed the individual frequence radiations to a certain mixed sound picture. This is mainly a positive picture. Listening to famous concert halls learns that each hall has its own characteristics in frequency response and total impression. When you place a microphone in a typical concert hall position (12 meters or more from the source) the signal to noise ratio will become un-usable for sampling. The choice of recording method also depends on the repertoire to be played. Classical piano music deserves a natural blend of ambience, but different composers all have their own characteristics which leave more or less space for the ambience to influence the music. Many a record producer and sound engineer has added his own interpretation of the grand masters' notes while immortalizing their compositions through a pair of microphones. Rhythmic music and jazz traditionally are played in different types of locations. Therefore the listener's expectations of the timbre and the ambiance are somewhat different. In many cases, it was the composer's intention that his work be replayed on a hi-fi system in the home environment. The room acoustic of the location in which the jazz piano has been recorded is therefore judged by different and possibly less critical criteria, but, to give the grand piano its unique timbre, the recording still needs to convey a sense of location. This will furthermore give the listener a sensation that will bring him to the edge of his chair, so to speak. Classical piano music and A-B stereo When recording classical piano music, the finest results come out of two omnidirectional microphones in an A-B stereo setup in front of the grand piano. The A-B stereo pair is placed on the side of the piano to give the listener an illusion of being a part of the audience. By adjusting the distance to the piano and the exact placement next to the piano, the amount of ambience and the timbre of the instrument can be tuned. Placements around the mid of the piano 1 to 2 meters away are often preferred. The microphones are normally spaced between 40 to 60 cm and the stereo image is adjusted, so the pianist is to the left, of course. The height of the stereo boom is quite low, 1.2 m to 1.5 m above the boundary on which the piano is placed. By pointing the microphones to the open lid of the piano, the sound reflecting on the inner side of the lid will be brightened up and a beautiful depth will be added to the recording. Classical piano and X-Y stereo When recording classical piano music, the second best method is the use of two directional microphones in an YX-Y stereo setup in front of the grand piano. The X-Y stereo pair is placed on the side of the piano and gives the listener an illusion of the piano nearby. Again, by adjusting the distance to the piano and the exact placement next to the piano, the amount of ambience and the timbre of the instrument can be tuned. Placements around the mid of the piano closer than 1 meter to the instrument are often preferred. By pointing the microphones to the open lid of the piano, the sound reflecting on the inner side of the lid will be brightened up and a beautiful depth will be 5 added to the recording. Please note that the sound pressure level inside a concert grand piano can exceed 130 dB SPL peak 20 cm over the strings. So special care is needed when choosing microphone types. This Yamaha C7 grand piano has been recorded in a typical pop recording studio with both techniques. The sound recorded with the A-B stereo technique has a stronger sense of location which can be perfect for some kinds of music but very disturbing for others. The sound recorded with the X-Y stereo technique is very dry and is perfect for in situations where you want an intimate piano sound. The best of both worlds! The recording All microphones were connected to a Digidesign PRE and and sampled at 96 kHz to ensure a clear sound path. The recording took place on a ProTools HD system. All microphones were kept on separate tracks. The microphones used were B&K 4000’s series. Processing included WAVES effect processors. About the tuning of the Piano: Inharmonicity Acoustically, a note perceived to have a distinct pitch contains frequency components that are integer multiples of f0 usually known as harmonics. Each harmonic is a sine wave and since the hearing system analyses sounds in terms of their frequency components it turns out to be highly instructive in terms of understanding how to analyse and synthesise periodic sounds, as well as being central to the development of Western musical harmony to consider the musical relationship between the individual harmonics themselves. The frequency ratios of the harmonic series are known (see Table 1) and their equivalent musical intervals, frequency ratios and staff notation in the key of C are shown in the table below for the first ten harmonics. The musical intervals (apart from the octave) are only approximated on a modern keyboard due to the tuning system used. Table 1 The relationship between overtone series, harmonic series and fundamental frequency for the first ten components of a period waveform. The musical intervals of adjacent harmonics in the natural harmonic series starting with the fundamental or first harmonic, illustrated on a musical stave and as notes on a keyboard in Table 2, are: octave (2:1), perfect fifth (3:2), perfect fourth (4:3), major third (5:4), minor third (6:5), flat minor third (7:6), sharp major second (8:7), a major whole tone (9:8), and a minor whole tone 00:9). The frequency ratios for intervals between non- adjacent harmonics in the series can also be inferred from the figure. For example, the musical interval between the fourth harmonic and the fundamental is two octaves and the frequency ratio is 4:1, equivalent to a doubling for each octave. Similarly the frequency ratio for three octaves is 8:1, and 6for a twelfth (octave and a fifth) is 3:1. Intervals for other commonly used musical intervals can be found from these. To demonstrate this for a known result, the frequency ratio for a perfect fourth (4:3) can be found from that for a perfect fifth (3:2) since together they make one octave (2:1): C to G (perfect fifth) and G to C (perfect fourth). The perfect fifth has a frequency ratio 3:2 and the octave a ratio of 2:1. Bearing in mind that musical intervals are ratios in terms of their frequency relationships and that any mathematical manipulation must therefore be carried out by means of division and multiplication, the ratio for a perfect fourth is that for an octave divided by that for a perfect fifth, or up one octave and down a fifth. Table 2 Frequency ratios and common musical intervals between the first ten harmonics of the natural harmonic series of C3 against a musical stave and keyboard. Sound source from a struck string When a stringed instrument is struck such as in a piano, the same relationship exists between the point at which the strike occurs and the modes that will be missing in the sound source. There is, however, an additional effect that is particularly marked in the piano to consider. Piano strings are very hard and they are under enormous tension compared with the strings on plucked instruments. When a piano string is stuck, it behaves partly like a bar because it is not completely flexible since it has some stiffness. This results in a slight raising in frequency of all the component modes with the effect being greater for the higher modes, resulting in the modes no longer being exact integer multiples of the fundamental mode. This effect, known as 'inharmonicity', varies as the square of the component mode (n2), or harmonic number, and as the fourth power of the string radius (R4). Thus for a particular string, the third mode is shifted nine times (32) as much as the first, or fundamental, mode, and a doubling in string radius increases inharmonicity by a factor of sixteen (24). The effect would therefore be considerably greater for bass strings if they were simply made thicker to give them greater mass, and in many stringed instruments, including pianos, guitars and violins, the bass strings are wrapped with wire to increase their mass without increasing their stiffness. The notes of a piano are usually tuned to equal temperament and octaves are then tuned by minimising the beats between pairs of notes an octave apart. When tuning two notes an octave apart, the components which give rise to the strongest sensation of beats are the first harmonic of the upper note and the second harmonic of the lower note. These are tuned in unison to minimise the beats between the notes. This results in the f0 of the lower note being slightly lower than half the to of the higher note due to the inharmonicity between the first and second components of the lower note. Inharmonicity on a piano increases as the strings become shorter and therefore the octave stretching effect increases with note pitch. The stretching effect is usually related to middle C and it becomes greater the further away the note of interest is in pitch. Figure 3 illustrates the effect in terms of the average deviation from equal-tempered tuning across the keyboard of a small piano. Thus high and low notes on the piano are 7 would have been if all octaves were tuned tuned sharp and flat respectively to what they pure with a frequency ratio of 2:1. From the Figure it can be seen that this stretching effect amounts to approximately 35 cents sharp at C8 and 35 cents flat at Cl with respect to middle C. Figure 3 Approximate form of the average deviations from equal temperament due to inharmonicity in a small piano. Middle C marked with a spot. The tuning of the piano will also affect the tone of the instrument. If your sessions are orchestral, then the piano will need to be “stretch-tuned” more than for pop, jazz or rock sessions. In stretch-tuning, the lower notes are slightly flatter in relative pitch than the higher, sharper notes. This tuning method leans more closely to purer intervals than stricter “equal temperament” tuning. In equal temperament tuning, the intervals are less pure but more equally spaced. This makes an equal-tempered piano more in-tune with synths, samples, brass and woodwinds and is a more appropriate tuning method for pop, jazz and rock styles. Stretch-tuning has a more open, brighter sound than equal temperament, which somewhat compensates for the fact that pop pianos are typically much brighter overall. The piano was tuned according to the rules described in this section. The amount of harmonics found in this sample set is partly caused by the tuning. 8 INSTALLATION CD + DVD The files are compressed in WinRar format: To uncompress the files on a PC you can simply double-click the PMI Yamaha C7.exe program. If you experience problems during the installation please download WinRar; www.rarlab.com/ copy all the files from the CD’s to a hard disk folder and open the files using WinRar. On a Mac you need MacRAR: @ www.rarreg.com/download.php?op=getit&lid=6 or Stuffit Expander: www.stuffit.com MAC users attention! The files are all burned on a PC. If you insert the CD-ROM or DVD in your Mac, file names may appear to be crippled (in the so-called 8.3 format) or files may be inaccessible. The Joliet Volume Access extension is designed to solve these problems. Basically, this System Extension enhances the way your Macintosh computer can read CD-ROM’s/DVD media from other platforms, mainly Windows. So please go to: www.tempel.org/joliet and download the Joliet Volume Access (shareware). After installation you should have the following files on your hard drive: a folder labelled YAMAHA AMB 1, containing the Close version in Kontakt format a folder labelled YAMAHA CLOSE, containing the Close version in Kontakt format OR the two GIG-files: yamaha close.gig & yamaha amb.gig and the ambient+close delay setting.gsp GigaStudio performance with the layered setup GIGA: You will also need Maple and GRANDIOSO FX. Check if Maple and GRANDIOSO FX are on your DVD or CD. If not please download: http://stkitts.globat.com/~postpiano.com/maple/directory The installation instructions are on-line. 9 THE YAMAHA C7 PATCHES The provided instruments can be divided into 3 categories: CLOSE, AMBIENT & MIXED. The close and ambient samples were recorded in phase. You can freely mix these samples during playback or mixdown without any artefacts or phase cancellations. This gives you absolute control over the exact amount of ambience. The option to create your own balance between the two microphone perspectives is possible when both CLOSE and AMBIENT programs are loaded in your sampler application. CLOSE CLOSE C7 + sustain - The basic close miked patch. It uses 8 velocity layers with sustain pedal up and 8 velocity layers with the sustain pedal down. The samples were recorded from a short distance and have more presence and “ringing” sound. These samples may seem better for pop songs but in busy mixes with lots of instruments playing, they tend to get lost in the mix and the ambient samples are known to “cut trough the mix” better no matter what first impression they offer. That is because the CLOSE samples lack body and fundamentals. I suggest using the CLOSE samples with care and add them to the ambient samples to add realism and presence. ?? CLOSE C7 16 pedal up or down* Same as above but these patches only use one set of sustain status samples. The are to intended to be used in situations where a full sound (pedal down) or thin sound (pedal up) is preferred. ?? CLOSE C7 16 pedal up or down with release* Same as above patches but with the release samples. These patches have the release samples layers built-in. They need an extra stereo voice for the release triggered samples. ?? CLOSE C7 realtime sustain* Same as basic CLOSE C7 + sustain but with an additional sustain pedal controlled crossfade between the sustain pedal up and sustain pedal down samples. ?? RELEASE The release samples patch. Can be used for overdubs or when layering programs in multi-setup. * You can use the modulation wheel on your master keyboard to control the level of the release samples. ?? AMBIENT AMBIENT C7 + sustain* Basic ambient patch. It uses 8 velocity layers with sustain pedal up and 8 velocity layers with the sustain pedal down. ?? AMBIENT C7 + release (prog. Nr 2)* Same as parent patches but with release samples. ?? AMBIENT C7 (prog. Nr 3)* Wet patch which has both release samples and separate sustain pedal up and down samples. *modulation wheel controls release time ?? MIXED SETUPS The mixed setups are different for Giga and Kontakt. Please refer to the section involved. More programs will be announced with future updates. UPDATES Free updates are available for registered users on our company website www.postpiano.com where a guide can be found explaining how to install the updates. Your GRANDIOSO library will serve you for years, just like e real instrument. We will 10 or CD’s) when they become available at supply major upgrades (which need new DVD’s minimal costs. 11 Mixed setup in Giga You can load the GST performance file: ambient+close delay setting.gsp In case it does not work: Load the CLOSE YAM C7 +sus in port 1 (midi ch 1) and route the outputs to mixer ch 1+2 (default). Load the AMB C7 +Sus in port 2 (mid CH 1) and route the output to mixer ch 3+4 (see picture) Optional: load the release program in port 3 (midi ch 1) and route to mixer ch 5+6 LINK the midi ports You can now balance the two microphone perspectives in the GST mixer by simply using the DSP mixer faders. Additionally you can add a delay to the AMBient samples group, by inserting a NFX3 Delay/Pan plug-in and use the settings as shown in the next picture. A typical 15 to 33 ms delay (no feedback and no modulation) will make the perceived room much larger and is very realistic! 12 MAPLE + GRANDIOSO FX To overcome the major shortcomings of GigaStudio we have developed a program called GRANDIOSO FX that works as a plug-in in a host software called Maple, both programs are written by Jeff Hurchella. In short they will add more dimensions to a Giga instrument enabling us to achieve more than the normal 32 dimensions. In our case we made extra release layers that are played when Grandioso FX is activated. We have a patch called “ xxx Yam C7 realtime sustain Maple” which behaves just like a real grand piano: when you push the sustain pedal the resonance of the singing strings will gently mix with those of the non-struck resonating strings in the piano. Further we added the noise of the pedal being pressed down and released. All these effects can be switched off by using the bypass button in Maple. NOTE ON LEVELS IN GIGASTUDIO When the piano is used in a Gigastudio set-up as a solo instrument special care should be given to achieve the best possible level. The best level is the loudest possible level without causing clipping and distortion to the signal(*). You can use the level indicators in GigaStudio to see how your signal levels are. The PMI samples are recorded just -0.2 dB below 0 dBFS and will easily cause a system to clip when played at maximum velocity and the DSP mixer fader above the -6dB position. * Note on the +6 dB The Giga editor gives you the option to add 6 dB gain to an instrument: in this instrument it was switched off. Switching it on is a useful feature when playing solo works. It works as following; the incoming velocity midi-data is augmented with 15 steps. So midi velocity of 60 will produce a sound as if it were played at 75. This may lead to unwanted side-effects: - the upper midi values (112 and above) have no effect, the level will not become louder. 13 no effect, the level will stay equally soft. - the lowest velocity range (0-14) will also have When the piano samples are used in orchestral or pop arrangements with a lot of other sampled instruments or when your situation calls for the use of the 0-15 and 112-127 values you are advised to turn of the +6 dB tab as it will easily lead to distorting the output. DYNAMICS The main patches have been designed using Fatar TP30 weighted hammer action keyboard mechanics, found in the SL1100 master keyboard. We have chosen to make velocity switching points at the next values for all octaves: PPPP PPPP to PPP PPP PPP to PP PP PP to P P P to MF MF MF to F F F to FF FF FF to FFF FFF FFFF 16 layer 8 layer 4 layer 0 7 15 23 31 39 47 55 63 71 79 87 95 103 11 119 0 42 15 34 77 51 70 110 88 103 127 115 You may want to adjust your keyboards velocity response to match these values. When you play melody lines around velocity value 70 to 80 they will sound at mf - f. If you want to have mf sound when lower velocity values you must adjust the velocity curve of the master keyboard to get a "softer" response. Alternatively you may want to open the instrument editor and lower the upper velocity boundaries. 14 NOTES 15 Registration Please visit www.postmusicalinstruments.com and register your product. Only registered owners of this library will receive the updates and will be informed when they are available. LICENSE AGREEMENT IMPORTANT! Read the license before using the product. The content of this library is licensed, not sold, to you by Post Musical Instruments for use in your own music, film, television or multi-media production. You may use these sounds in any commercial or non-commercial recording without any additional licensing fees. You may not use these recorded samples in a non-melodic, solo-ed context in a musical recording or music library. Post Musical Instruments reserves any other rights not expressly granted to you. You own the Compact Discs or DVD on which the PMI sound samples are sold, but PMI retains ownership of all the sound samples. Unlawful copying, lending, trading, duplication, reselling, hiring, uploading or downloading to a database, server or network or any other form of distribution of the samples in this product is strictly forbidden. These samples are embedded with a digital watermark. The watermark will survive DA and DA re-sampling, severe eq and fx-processing and remains traceable even in full mixes. Any un-licensed use of these samples will be prosecuted. Copyright Post Musical Instruments GRANDIOSO YAMAHA C7 was created by Michiel Post. Copyright © 2003 by Post Musical Instruments, Rijnstraat 4, 1078 RA AMSTERDAM, Netherlands. E-mail: [email protected] Make sure you check out our other GRANDIOSO releases: Please visit www.postpiano.com for details and demos. 16 World wide distribution —————————————————— ———–—-———————————————— —————————————————— ————–—————————————— US + AUSTRALIA East West Communications, Inc. 9000 Sunset Boulevard, Suite 1550 West Hollywood, CA 90069 USA Phone: Fax: GERMANY Best Service Hanauer Straße 91a 80993 Munich Germany 1-800-833-8339 (Toll Free from USA/Canada) 1-310-271-6969 (from other countries) Phone: +49 (0)89 345 026 Fax: +49 (0)89 38 38 84 84 Email: [email protected] 1-310-271-6968 Website: www.bestservice.de Email: [email protected] Website: www.soundsonline.com —————————————————— —————————————————— —————————————————— —————————————————— UK+ Europe Time+Space PO Box 4, Okehampton Devon EX20 1UE United Kingdom Phone: +44 (0)1837 55200 Fax: +44 (0)1837 55400 Email: [email protected] Website: http://www.timespace.com JAPAN Crypton Future Media, Inc. 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