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SampleTekk
TVBO
An
acoustic
piano
is
a
very
dynamic
and
expressive
instrument!
You
could
use
the
same
instrument,
in
the
same
venue
for
different
artists,
and
get
very
different
results.
Even
in
the
same
genre
you
would
get
different
sounds
from
different
performers.
Jerry
Lee
can
use
a
grand
piano,
and
Mitsuko
Uchida
can
then
use
the
same
instrument
for
a
Mozart
piece.
(After
some
tuning)
Why?
Because
an
acoustic
piano
is
a
VERY
dynamic
and
expressive
instrument!
Theres
simply
so
much
going
on
between
the
soft
pianissimo
and
thundering
forte,
especially
on
a
Grand
Piano.
When
you
record
a
piano
that
shall
be
used
for
a
sampled
instrument,
you
want
to
capture
as
much
as
possible
of
the
tonal
range,
so
you
have
to
record
the
same
note
several
times,
each
time
hitting
the
note
with
a
different
strength.
In
the
beginning
of
sampling
you
would
have
just
one,
since
the
memories
of
those
early
samplers
couldnt
handle
more.
This
would
mean
that
you
have
the
same
timbre
no
matter
how
hard
you
hit
the
key,
and
thats
not
really
piano-like
With
the
arrival
of
software
samplers
and
the
price
drop
on
memory,
you
could
indulge
in
more
velocity
layers,
and
you
started
to
see
pianos
that
had
4,
6,
8
and
even
12
velocity
layers,
drastically
improving
the
dynamic
response
of
a
sampled
piano.
When
SampleTekk
released
the
White
Grand
and
Black
Grand,
the
16
velocity
layers
were
considered
to
be
among
the
most
dynamic
sampled
pianos
around,
(and
they
still
are).
So,
where
to
go
next?
Why
not
31
velocity
layers..
Recording
the
TVBO
The
Instrument
The
Grand
Piano
used
for
the
TVBO
is
a
Yamaha
C7.
One
of
the
most
popular
studio
grands.
Well
known
for
its
detailed,
rich,
full
sound.
The
C7
is
one
of
the
best
selling
Grand
Pianos
in
the
world
and
it
has
been
used
on
countless
productions
in
all
imaginable
genres.
The
recordings
took
place
at
OAL
studios
in
Stockholm,
Sweden
and
we
used
two
types
of
microphones,
Neumann
SM2,
a
stereo
microphone
and
a
pair
of
Neumann
U89.
Neumann
SM2
The
SM2
model
is
a
stereo
microphone
thats
essentially
a
pair
of
KM56.
It
was
introduced
in
1956
and
was
at
the
time,
(and
for
quite
many
years),
the
only
stereo
microphones
available.
Its
been
used
in
a
plethora
of
recording
situation,
and
has
been
dubbed
the
piano
saviour
by
many.
The
SM2
was
set
up
above
the
strings,
close
the
hammers,
to
capture
a
detailed,
bright
sound
that
would
work
well
in
a
mix
where
you
need
detailed
Neumann
U89
Neumann
U89
The
U89
was
considered
to
be
a
follower
to
the
famous
U87.
The
demand
for
the
older
model
was
so
great,
that
Neumann
decided
to
keep
both
models.
The
U89
is
universal
studio
microphones
that
very
often
are
used
on
pianos.
For
the
TVBO
we
used
a
pair
of
U89
in
an
x/y
position
to
capture
a
bit
more
ambience
without
loosing
the
touch
with
the
instrument.
Lets
go
through
the
controls
from
left
to
right!
Mixer
TVBO
where
recorded
using
two
different
microphone
pairs.
Both
having
their
own
characteristic.
(For
details,
please
see
Recording
the
TVBO)
You
can
use
them
separately,
or
mix
the
together
using
the
volume
faders.
You
can
also
turn
each
channel
on/off
using
the
button
at
the
top.
Eq
With
this
section
you
can
set
the
EQ.
From
top
you
have
Hi
Frequency,
then
Hi
Mid,
Lo
Mid
and
Low
Frequency
With
the
In
button
you
turn
the
EQ
on/off
With
the
KHz
control
you
set
the
area
where
the
EQ
should
work,
and
with
the
dB
control
you
can
increase
or
decrease
the
frequency.
The
Q
control
(available
for
the
Hi
and
Lo
Mid)
controls
the
bandwidth.
Fully
anticlockwise,
the
EQ
is
set
to
work
on
a
narrow
part
of
the
frequency
spectrum,
and
by
turning
this
up,
you
increase
the
area
on
witch
the
EQ
works.
With
the
dB
control
you
can
increase
or
decrease
the
selected
frequency
area
with
approximately
-5dB
5
dB
And
the
frequency
areas
in
witch
the
EQ
works
are
the
following:
HF
1.5
kHz
16
kHz
HMF
600
Hz
7
kHz
LMF
200
Hz
2.5
kHz
LF
30
Hz
450
Hz
Reverb
This
is
a
convoluting
reverb
unit.
This
means
that
it
works
with
so
called
impulses
that
have
been
recorded
from
real
rooms,
halls
and
reverb
units
like
digital
reverb,
plate
reverb
and
spring
reverb.
Without
becoming
too
technical,
this
produces
a
very
natural
reverb
sound.
In
the
current
version
you
can
choose
between
the
following
reverbs
(use
the
arrows
on
the
side
of
the
display
to
choose
a
reverb):
Large
Room
Small
Room
Concert
Hall
Large
Hall
Small
Hall
Large
Plate
Small
Plate
Digital
1
Digital
2
Digital
3
Spring
Go
further
If
you
look
at
the
blue
plate,
you
will
find
a
small
button
just
below
the
little
red
LED
light.
If
you
click
on
that,
further
controls
will
be
revealed:
SR
Vol
Sympathetic
Resonance
The
life
&
soul
of
the
piano
There
are
two
ways
of
undamping
a
piano
string,
one
that
described
above,
when
you
press
the
sustain
pedal
and
undamp
all
strings,
and
another
where
you
play
and
hold
a
tone.
When
playing
a
note
on
a
piano,
it
will
effect
all
other
strings
that
are
undamped
by
resonating
them.
Depending
on
what
note(s)
that
are
held
and
what
note(s)
that
are
played,
you
will
get
certain
overtones
going.
This
is
called
Sympathetic
Resonance
and
really,
really
blows
life
into
a
piano.
Some
limitations
If
you
consider
the
amount
of
combinations
of
possible
pressed
and
held
keys
together
with
possible
played
notes,
that
sum
would
be,
well
big!
The
SR
in
the
TVBO
is
an
emulation
that
works
on
many,
but
not
all
combinations.
To
get
actually
all
would
make
a,
well
BIG
program
and
would
really
be
impossible
to
make.
U89
Ph
When
you
mix
these
listening
points,
as
you
do
with
TVBO
two
microphone
sources,
you
will
get
cancellations
of
different
frequencies.
In
ALL
situations
where
you
have
several
microphones
you
will
get
this.
In
fact,
even
if
you
use
just
one
microphone
you
will
get
this,
since
the
sound
will
reflect
from
walls
and
ceilings.
In
short,
it
changes
the
timbre.
You
can
use
this
as
a
feature
when
sculpting
the
sound.
Changing
the
phase
of
one
microphone
pair,
(in
this
case
the
U89),
you
will
change
the
timbre
a
bit.
Velocity Settings
Vel Resp
Detune
U89
With
this
control,
you
can
change
the
tuning
of
the
U89
perspective.
If
you
blend
the
detuned
SM2
perspective
with
the
U89
perspective,
you
can
get
really
cool
effects!
Try
it
out!
Hammerback Noise
Pedal Volume
Technical
stuff
31
velocity
levels
More
than
7399
samples
TimeVel
Release
Technology
Sympathetic
Resonance
Real
Pedalling
Controllable
volume
for
key/pedal
noise
Two
different
mixable
microphone
perspectives
Controllable
volume
for
Sympathetic
Resonance
and
Resonance
24
bit
44.1
stereo
samples
Minimum requirements:
Kontakt
4,
(full
version,
it
will
open
in
the
free
player,
but
in
a
time
limited/session
mode)
As
always,
have
fun
with
the
instrument.
Please
remember
to
eat,
sleep
and
register
to
vote.
Love
&
Peace!