{"id":115854,"date":"2022-03-10T19:41:32","date_gmt":"2022-03-10T11:41:32","guid":{"rendered":"https:\/\/xs.1ozy.com\/?p=115854"},"modified":"2022-03-12T19:36:00","modified_gmt":"2022-03-12T11:36:00","slug":"%e5%a5%a5%e5%9c%b0%e5%88%a9%e5%a4%a7%e9%92%a2%e7%90%b4%e9%9f%b3%e6%ba%90adam-monroe-music-austrian-grand-piano-v1-7-win-macosx%ef%bc%8810-17gb%ef%bc%89","status":"publish","type":"post","link":"https:\/\/xs.1ozy.com\/?p=115854","title":{"rendered":"[\u5965\u5730\u5229\u5927\u94a2\u7434\u97f3\u6e90]Adam Monroe Music Austrian Grand Piano v1.7 [WiN, MacOSX]\uff0810.17Gb\uff09"},"content":{"rendered":"

\uffe5Adam Monroe\u2019s Austrian Grand piano was sampled from a 100 year old Bruder Mikula Wien Austrian grand through a pair of AEA R84 ribbon microphones into an AEA TRP ribbon microphone preamp. Prior to recording, the piano\u2019s hammer felts were sanded down to warm them up a bit. The piano was sampled in stereo under the lid, because that\u2019s where the tone sounded best. It took many weeks to sample the piano entirely, as it was in such a state that most of the tuning pegs could no longer hold a pitch for any length of time. The piano was sampled laboriously, with the softest to loudest dynamics being played, resulting in a library that includes 10 velocity layers and 2 note round-robin.<\/p>\n

 <\/p>\n

Sampling originally began by recording through an additional pair of Oktava Mk-012\u2019s to capture room ambience, but early on it was determined that the piano\u2019s tone was best captured by the ribbon mics, and that potentially increasing the size of the sample library by several gigabytes to include room mics would not significantly improve the sound.<\/p>\n

 <\/p>\n

Do to high-gain signal-noise unique to ribbons, quite a bit of noise was present when building the sample library. Noise from the ribbons is negligible, but when stacking 30-40 notes on top of each other \u2013 as in a sample library \u2013 the noise compounds and becomes quite noticeable. Therefore, the extra step of de-noising the samples was taken. Noise wasn\u2019t removed completely \u2013 to avoid making the sample library sterile \u2013 and a faint \u201chiss\u201d (similar to tape hiss) can be heard if you listen to the library carefully. For some people, a litte noise is desirable, but it can further be reduced by engaging the \u201c4kHz cut\u201d switch, as this is where most of the microphone self-noise tends to propagate.<\/p>\n

 <\/p>\n

This virtual instrument can be a great addition to your collection, as it fills a nice niche between bright sterile pianos (like Yamaha\u2019s) and smooth, mellow pianos (like Faziolis). We were happy we could sample such an old piano and turn it into a unique VST AAX Audio Unit plugin.<\/p>\n

 <\/p>\n

The Kontakt version of Adam Monroe\u2019s Austrian Grand Piano is now depreciated (1\/9\/2020). The VST, Audio Unit, and AAX versions are programmed entirely by us. The goal in any sample library that is also a VSTi (virtual instrument), Audio Unit (AU), or AAX plugin is to attempt to match the performance of the Kontakt Player. With this library, we feel like we have done just that.
\nThe VST, AU, and AAX versions include updated, high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even in lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is comparable to the (depreciated) Kontakt version. Because of the solid VST\/Audio Unit\/AAX code base, you can feel confident that the VST, AU, and AAX Unit versions will work just as well as the Kontakt version.<\/p>\n

 <\/p>\n

Why develop a VST, Audio Unit, or AAX version at all Although a great piece of software, the Full version of Kontakt (required to run 3rd party sample libraries) is expensive (or the developer has to pay a licensing fee to Native Instrumetns). And essentially, Kontakt is middleware. Developing VST, Audio Unit, and AAX versions that anyone can use in any DAW does not add significant time to the development of a piano sample library \u2013 most of the time is spent sampling and processing the samples \u2013 so it\u2019s a real no-brainer.<\/p>\n

 <\/p>\n

Audio engineering is a large part of creating a VST, Audio Unit, or AAX plugin, but the sounds of this grand piano have barely been processed. A little of the mid and high frequencies were rolled back in the piano\u2019s lower range, and the samples were de-noised, but other than that, this library is nearly a direct translation of the sound of a 100-year-old Austrian Grand Piano.<\/p>\n

 <\/p>\n

This plugin now supports real-time sample rate conversion via cubic interpolation with Catmull-Rom splines. As long as you are using a 44.1, 48, 88.2, or 96 kHz sample rate, the plugin will automatically detect your sample rate and adjust itself accordingly.<\/p>\n

 <\/p>\n

\u2013 16-Bit Audio Samples
\n\u2013 2X Round-Robin, 10 Velocity Layers
\n\u2013 Reverb and Frequency Cuts
\n\u2013 5GB of Sample Data
\n\u2013 Supports 44.1, 48, 88.2, and 96 kHz<\/p>\n

 <\/p>\n

Release v1.7 1\/4\/2020
\n***********************
\nImprovements since last version:
\n*Mac Au\/VST versions now conform to OS X Catalina code signing and notarization requirements.
\n*Mac versions are now installed via package installers.
\n*Resources for Mac versions and a config file are now placed outside of the amhonky.vst and amhonky component bundles. This is because Apple wants things code-signed now:
\nverifying resources in a bundle would take too long and the config can\u2019t be inside because it would invalidate the code signature. If you don\u2019t like it, complain to Apple!
\n*Maintaining separate legacy (32-bit) Mac versions for those who need
\nthem (OS X 10.9-10.14)<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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