%title插图%numAudioZ Exclusive | .ufs | 3’2 GB

一系列虚拟鲍德温钢琴中的第一架是我们工作室 1954 年鲍德温“R”系列三角钢琴的再现。

Baldwin 钢琴,从大三角钢琴到 Acrosonic spinets,一直是我们的最爱,我们很高兴将 Baldwin 的声音带入虚拟钢琴市场。现在,Baldwin 可以在您的虚拟乐器库中与 Steinway、Yamaha、Bechstein、Fazioli 和 Bosendorfer 等品牌并驾齐驱。

这是一架多功能且富有表现力的钢琴,充满了我们认为可以真正表达钢琴音乐故事的功能。

直接使用,近距离麦克风产生明亮,大胆的声音,但交替麦克风视角和全动态控制为您提供广泛的范围,使您可以创建从柔和,令人回味的音景到从音乐中弹出的冲击摇滚曲目的所有内容混合。

完全脚本化的用户界面

4 通道混音器混合麦克风视角

独奏、静音、声像、A/B、复制和粘贴混音器功能

使用主音量增益结构控制

触摸控制更容易或更难的动作

可调节的自定义卷积混响,“空气”和“木材”

定制的均衡和压缩

2个按键释放控制

延音踏板噪音

可调延音踏板共振

用于增益和信号处理的复制、粘贴、重置、A/B 控件

保存和加载场景按钮保留所有可控参数

从 4 个角度记录的样本

关闭麦克风:在钢琴里面

中置麦克风:距离开盖 18″

单声道麦克风:在玩家的角度

远麦克风:在相邻的开放式展台中

近距离麦克风可提供清晰、明亮、强烈的音调,可在最密集的混音中脱颖而出。

中距离麦克风通过自然的立体声画面在钢琴和房间氛围之间取得了良好的平衡。

单声道设置是为那些想要完全单声道兼容性且没有相位问题机会的人提供的,可用于补充任何立体声设置

远距离麦克风带有大量的氛围、反射和扩散,可以混合在一起以获得更令人回味的感觉。

使用 4 通道混音器混合视角并准确获得您想要的声音。

新增功能

该乐器具有一系列功能,包括专为配合钢琴的声学足迹和动态包络而量身定制的压缩和均衡器,提供恰到好处的处理,以音乐方式塑造声音。

踏板上/下和键释放层的示例增加了详细的真实感,而定制的卷积混响允许您调高或调低钢琴的特定声音特征。

琴键释放样本呈现在两个独立的层中 – “hammer fall”,即琴槌回落到静止位置的声音,以及“damper drop”,即阻尼器落到共鸣弦上的声音。

“空气”控制提供了呼吸的琴弦共鸣,而“木”增加了更沉闷、更深沉的物理存在感。

当延音踏板被踩下时,琴弦开放共振的量也可以用“延音共振”拨盘调高或调低。

该界面带有许多参数的 A/B、复制、粘贴和重置按钮,以及“保存场景”和“加载场景”按钮,让您可以保存整个参数集并在瞬间加载它们,而无需重新加载整个乐器。

“Polyphony”允许您确定同时触发的最大样本数。

全局重置按钮将所有可调参数返回到默认设置。

严格的取样过程

记录了 22 GB 的未压缩音频

以 8 个力度级别录制的所有 88 个键

样本记录为 .wav 文件,位深为 24,采样率为 88.2 khz

Lynx 音频 AD 转换器

Fredenstein 和 DW Fearn 话放

老式电容 (AKG & Neumann) 和新丝带 (AEA) 麦克风的最佳选择

 

The first in a series of virtual Baldwin pianos is a recreation of our studio’s 1954 Baldwin “R” series grand.

Baldwin pianos, from the big grands to the Acrosonic spinets, have always been favorites of ours, and we’re happy to bring that Baldwin sound to the virtual piano market. Now Baldwin can stand alongside brands like Steinway, Yamaha, Bechstein, Fazioli, and Bosendorfer in your virtual instrument arsenal.

It’s a piano that’s versatile and expressive, packed with the features that we thought could really express the piano’s musical story.

Used straight out of the can, the close mics yield a bright, bold sound, but alternate mic perspectives and full dynamic control give you a wide range that allows you to create everything from gentle, evocative soundscapes to pounding rock tracks that pop out of a mix.

Fully scripted user interface

4 channel mixer to blend mic perspectives

solo, mute, pan, A/B, copy and paste mixer functions

gain structure control with master volume

touch control for an easier or harder action

adjustable custom convolution reverbs, “air” and “wood”

custom-tailored eq & compression

2 key release controls

sustain pedal noises

adjustable sustain pedal resonance

copy, paste, reset, A/B controls for gain and signal processing

save and load scene buttons preserves ALL controllable parameters

Samples recorded from 4 perspectives

close mics : inside the piano

mid mics : 18″ from the open lid

mono mic : at the player’s perspective

far mics : in an adjacent, open-door booth

The close mics give a clear, bright, strong tone that’ll stand up in the densest mix.

The mid-distance mics capture a nice balance of piano and room ambiance with a natural stereo picture.

The mono set is provided for those who want full mono compatibility and no chance of phasing issues, and can be used to complement any stereo set

The far mics carry a ton of ambiance, reflection and diffusion that can be blended in for a more evocative feel.

Use the 4-channel mixer to blend perspectives and get exactly the sound you want.

Added features

The instrument’s got a slew of features, including compression and eq specifically tailored to work well with the piano’s acoustic footprint and dynamic envelope, providing just enough processing to shape the sound in musical way.

Samples of pedal up/down, and key release layers add detailed realism, while custom-built convolution reverbs allow you to dial up or down specific sonic characteristics of the piano.

Key release samples are presented in two separate layers – “hammer fall”, which is the sound of the hammer falling back into resting position, and “damper drop”, which is the sound of the damper dropping onto the resonating string.

The “Air” control provides a breathy string resonance, while “Wood” adds more clunk, more deep physical presence.

The amount of open string resonance when the sustain pedal is depressed can also be dialed up or down with the “sustain resonance” dial.

The interface comes with A/B, copy, paste and reset buttons for many of the parameters, and “save scene” and “load scene” buttons to allow you to save entire parameter sets and load them in an instant without having to reload the entire instrument.

“Polyphony” allows you to determine the maximum number of samples triggered simultaneously.

A global reset button returns ALL the adjustable parameters back to the default setting.

Fastidious sampling process

22 gb of uncompressed audio recorded

all 88 keys recorded at 8 velocity levels

samples recorded as .wav files at a bit depth of 24, sample rate of 88.2 khz

Lynx Audio AD converters

Fredenstein and DW Fearn mic preamps

Best of both vintage condenser (AKG & Neumann) & new ribbon (AEA) mics

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