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Cinesamples Piano in Blue V2 KONTAKT Powerhorse| 18 November 2013| 9.74 GB We were provided a unique opportunity to preserve an important piece of musical history in.
There was a time when recreating the sound of a piano with just a sampler, rather than a synth, was deemed 'real enough'.
However, bigger and cheaper RAM, alongside hard-disk audio streaming, has introduced an ongoing quest for the ultimate unlooped, multilayered, multi-sampled piano library.
'The piano's low-high balance can be tweaked using a combined low/high-pass filter control and the programmable velocity curve can be tailored to your playing style.'
There's also been growing interest in pianos with individual character, and Piano In Blue is one such creation. It came about with quite a bit of luck.
The studio where the recording sessions took place had already hosted its last proper recording date, but Cinesamples discovered that the piano in the corner - a Steinway Model D - originally came from the legendary CBS 30th Street Studio, along with a pair of Neumann M49 mics - the same kit that was used on the Miles Davis classic, Kind Of Blue.
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All controls for Piano In Blue are accessed from one, pleasantly retro-looking interface. The most important of these allow you to enable and adjust the relative levels of the three different mic positions - two Neumann M49s near the lid of the piano, two B&K 4007s at its tail and two Sennheiser MKH20s at a distance.
Here you'll also find a 'Vintage Mono' switch for replicating the more limited options available in older recording scenarios.
Flicking another switch enables you to select similar mic positions, but this time recorded to a Studer A800 MkIII 24-track tape machine, and with adjustable tape noise level. Pedal Noise level is also provided as a dedicated control.
Adjust to fit
The piano's low-high balance can be tweaked using a combined low/high-pass filter control and the programmable velocity curve can be tailored to your playing style.
A very welcome extra is the provision of a series of impulses taken from Bricasti's fantastic M7 reverb hardware and this helps make Piano In Blue very self-contained in sonic terms. While the recording doesn't capture the actual sound of the original CBS studios, Clinton Recording Studio's main room is very highly regarded in its own right.
Miles ahead
Overall, Piano In Blue is an absolute pleasure to play and use and, unlike some brighter piano libraries, fitted well within the mix of various tracks across a range of genres.
The option of using the 'to tape' version is a real bonus, though it does come with a dose of audible saturation distortion during more strident playing. However, this for many will be part of its appeal, and make Cinesamples' creation a bit less 'sensible' than a number of its peers, providing real warmth and heaps of 'vibe' when required.
Piano in Blue is an exceptional instrument with great history, and we are thrilled to announce some updates that make this piano sound even better, along with some options that allow you greater control.”
Latency
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.
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.
ape 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.
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.
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.
Cinesamples - Piano In Blue V2 Torrent
Sample Fix — F4, Velocity 101-110, Direct-Room
There was a modulated distortion noise on this note — this noise has been
removed.
There was a modulated distortion noise on this note — this noise has been
removed.
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91-110 quick release velocities
There were issues with the shorter release samples being too quiet in this region — this issue has been fixed.
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