Cinesamples Piano in Blue v2.3b [KONTAKT]

We were provided a unique opportunity to preserve an important piece of musical history in its final days.
我们得到了一个独特的机会来保存一段音乐历史的最后日子。

Word had come to us that the historic Clinton Recording Studios in midtown Manhattan was forever closing its doors, destined to be transformed into a modern condominium complex.
有消息告诉我们，位于曼哈顿中城的历史悠久的克林顿录音室(Clinton Recording Studios)将永远关闭，注定要被改造成一座现代化的公寓大楼。

One of the many treasures contained therein was this particular Steinway Model D Concert Grand which used to live in the Columbia Records 30th Street Studios.
其中包含的许多珍宝之一是这架特别的施坦威D型音乐会大钢琴，它曾住在哥伦比亚唱片公司的第30街工作室。

The CBS 30th Street Studio, “The Church” was perhaps the most influential recording studio of the 50’s and 60’s producing dozens of legendary albums in various genres.
CBS第30街工作室，“教堂”可能是五六十年代最具影响力的录音室，制作了几十张不同流派的传奇专辑。

Of those recordings this piano played a critical role in two albums which are still considered among the finest recordings of all time.
在这些录音中，这架钢琴在两张专辑中扮演了重要的角色，这两张专辑仍然被认为是有史以来最好的录音。

First being the original Glenn Gould “Goldberg Variations,” the most critically received classical album of all time.
首先是格伦·古尔德的原版《戈德堡变奏曲》，这是有史以来最受好评的古典专辑。

Four years later came Miles Davis’ “Kind of Blue” which forever altered music.
四年后，迈尔斯·戴维斯的《Kind of Blue》永远地改变了音乐。

In 1981 Columbia closed its doors and this piano was brought to Clinton.
1981年，哥伦比亚大学关门大吉，这架钢琴被送给了克林顿。

In addition to the grand two of the original Columbia Nuemann U49 microphones made the journey also.
除了宏大的两个最初的哥伦比亚Nuemann U49麦克风也做了这次旅行。

These were two of the five (or six) microphones originally used on the Kind of Blue date.
这是最初在Kind of Blue约会中使用的5个(或6个)麦克风中的两个。

We were fortunate enough to sample this special grand using these two original microphones.
我们很幸运地用这两个原始的麦克风采样了这台特殊的巨轮。

Get the Version 2.0 Update
获得版本2.0更新

(For those who purchased prior to August 16, 2012.
(适用于2012年8月16日前购买。

New purchases already contain this update.)
新的购买已经包含这个更新。)

We were provided a unique opportunity to preserve an important piece of musical history in its final days.
我们得到了一个独特的机会来保存一段音乐历史的最后日子。

Word had come to us that the historic Clinton Recording Studios in midtown Manhattan was forever closing its doors, destined to be transformed into a modern condominium complex.
有消息告诉我们，位于曼哈顿中城的历史悠久的克林顿录音室(Clinton Recording Studios)将永远关闭，注定要被改造成一座现代化的公寓大楼。

One of the many treasures contained therein was this particular Steinway Model D Concert Grand which used to live in the Columbia Records 30th Street Studios.
其中包含的许多珍宝之一是这架特别的施坦威D型音乐会大钢琴，它曾住在哥伦比亚唱片公司的第30街工作室。

The CBS 30th Street Studio, “The Church” was perhaps the most influential recording studio of the 50’s and 60’s producing dozens of legendary albums in various genres.
CBS第30街工作室，“教堂”可能是五六十年代最具影响力的录音室，制作了几十张不同流派的传奇专辑。

Of those recordings this piano played a critical role in two albums which are still considered among the finest recordings of all time.
在这些录音中，这架钢琴在两张专辑中扮演了重要的角色，这两张专辑仍然被认为是有史以来最好的录音。

First being the original Glenn Gould “Goldberg Variations,” the most critically received classical album of all time.
首先是格伦·古尔德的原版《戈德堡变奏曲》，这是有史以来最受好评的古典专辑。

Four years later came Miles Davis’ “Kind of Blue” which forever altered music.
四年后，迈尔斯·戴维斯的《Kind of Blue》永远地改变了音乐。

In 1981 Columbia closed its doors and this piano was brought to Clinton.
1981年，哥伦比亚大学关门大吉，这架钢琴被送给了克林顿。

In addition to the grand two of the original Columbia Nuemann U49 microphones made the journey also.
除了宏大的两个最初的哥伦比亚Nuemann U49麦克风也做了这次旅行。

These were two of the five (or six) microphones originally used on the Kind of Blue date.
这是最初在Kind of Blue约会中使用的5个(或6个)麦克风中的两个。

We were fortunate enough to sample this special grand using these two original microphones.
我们很幸运地用这两个原始的麦克风采样了这台特殊的巨轮。

A friend of ours, John Davis, did a scoring session at Clinton and let us know about the closing as this day was to be the final date.
我们的一个朋友，约翰戴维斯，做了一个得分会议在克林顿，让我们知道关闭，因为这一天是最后的日期。

As the conversation drifted from the saddening state of affairs for large stages we came to talk about why this particular stage was a special place.
当我们的谈话从悲伤的大舞台上转移过来时，我们开始讨论为什么这个特殊的舞台是一个特殊的地方。

Although I had previously worked at the this studio I was never aware that the grand in the corner was the “one piano” used in so many of my favorite recordings.
虽然我以前在这个录音室工作过，但我从来没有意识到，在角落里的大钢琴是“一架钢琴”，在这么多我最喜欢的录音中使用。

At the time we were in Seattle conducting some non-cinesamples recordings.
当时我们正在西雅图进行一些非电影样本录音。

Mike and I walked over to secure a copy of Ashley Kahn’s paperback Kind of Blue: The Making of the Miles Davis Masterpiece.
迈克和我走过去想弄到一本阿什莉·卡恩的平装本《蓝色的种类:迈尔斯·戴维斯杰作的形成》。

This book pushed us across the threshold and the vision for this session started to become a reality.
这本书推动我们跨过门槛，这次会议的愿景开始成为现实。

As Patti headed back home to put the finishing touches on the Seattle project Barry caught a red-eye that night for Manhattan.
就在帕蒂回家准备完成西雅图项目的最后一笔时，那天晚上巴里飞到曼哈顿，赶上了一个红眼航班。

We had arranged to extend the closing date of Clinton by one day, just ensuring us enough time to sample this extraordinary instrument.
我们已经安排把克林顿号的截稿日期延长一天，只是为了确保我们有足够的时间对这个非凡的仪器进行取样。

Much of the gear being used was already up on Ebay.
许多正在使用的装备已经在Ebay上出售了。

It was the last session ever recorded at Clinton.
这是克林顿医院记录的最后一次会议。

With a mind to the handful of historic pictures from the recording Kind of Blue our engineer Tim Starnes (Drums of War, HollywoodWinds, Cinesnares, Cinetoms 2, CineCrash) set up three sets of microphones.
我们的工程师Tim Starnes(《战鼓》、《好莱坞之风》、《Cinesnares》、《Cinetoms 2》、《CineCrash》)想到了《Kind of Blue》这张专辑中的一些历史照片，设置了三套麦克风。

The first pair – the U49’s from old Columbia set up in historical position (note that the original was in mono), the two other pairs each set back a touch further from the other.
第一组U49是来自老哥伦比亚的U49(注意原来的是单声道)，另外两组U49分别在历史位置上后退了一点。

We recorded two signal chains for each mic, a clean signal going through the Neve board and one going through a historic tape machine and finally into pro tools.
我们为每个麦克风记录了两个信号链，一个干净的信号通过Neve板和一个通过一个历史悠久的磁带机，最后进入pro工具。

We highly suggest exploring the charming colorization of the tape signal but both are provided for your convenience.
我们强烈建议探索迷人的彩色磁带信号，但两者都提供了您的方便。

For some of the youngsters out there note that tape will alter the sound of medium to high gain velocity layers and that often engineers go through great lengths to achieve this distortion.
有些年轻人注意到，磁带会把中速层的声音变成高增益的速度层，而且工程师经常要经过很长的时间来实现这种失真。

Due to the delightful variances in timbre with each key the piano was sampled chromatically;
由于每一个键在音色上都有令人愉快的差异，这架钢琴在色彩上进行了采样;

this was the only way to get a true representation of the instrument.
这是唯一能真实再现这台乐器的方法。

Barry was the pianist for the sampling and he employed a unique strategy.
巴里是钢琴师，他采用了一种独特的策略。

PIANO SPECS:
钢琴的规格:

1949 Steinway D via Neve 8078 Console
1949施坦威D通过Neve 8078控制台

8 Velocity Layers Sampled Chromatically
8速度层采样着色

9300 Samples
9300个样本

3 Microphone Positions
3麦克风的位置

Close/Vintage – 2x Neumann M49 near the lid
关闭/复古- 2倍Neumann M49靠近盖子

Mid – 2x B&K 4007 at the tail of the piano
中- 2x B&K 4007在钢琴的尾部

Far – 2x Sennheiser MKH20′s in the hall
大厅里有两辆森海塞尔MKH20

2 Processing Paths (Tape;
2处理路径(磁带;

Direct in)
直接在)

Studer A800MKIII 24 Track Analog Tape Machine
Studer A800MKIII 24轨道模拟磁带机

Programmed by Sam Estes;
程序由Sam Estes;

scripted by Greg Schlaepfer;
脚本由Greg Schlaepfer;

recorded by Tim Starnes
由Tim Starnes录制

As always we share our revenue with our brilliant team of programmers, engineers, editors and musicians.
一如既往，我们与优秀的程序员、工程师、编辑和音乐家团队分享我们的收入。

NEW Piano in Blue v2 Complete Update
全新钢琴在蓝色v2完成更新

Latency
延迟

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.
我们增加了一个“样品开始”旋钮，位于直接/磁带开关旁边，它将切割持续样品20ms -这个调整将消除仪器中所有的锤/手指噪声。

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.
虽然我们不推荐使用这个功能，但对于那些有延迟问题的人来说，这个功能可以让钢琴变得更像“流行音乐”——然而，它将消除钢琴的“加重”感觉。

Tape Sample Replace
胶带样品取代

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.
我们重新记录了所有的样本集通过一个物理(不是插件)学生磁带机与更好的水平，以消除“crunch”在最高速度。

ALL samples have been replaced for the tape setting.
磁带设置的所有样品都已更换。

We also painstakingly re-denoised all of the samples, so there is very little tape noise buildup in the background.
我们还费力地对所有样本进行了重新去噪，因此背景中几乎没有磁带噪声的累积。

We highly recommend adding a bit of tape noise back in to blend the samples together.
我们强烈建议添加一点磁带噪声回到混合样本在一起。

You will notice some tape artifacts in some of the samples, but
你会在一些样本中注意到一些磁带伪影，但是

this is part of the natural sound of using tape.
这是使用磁带的自然声音的一部分。

Individual De-noising of V1 Direct Samples
V1直接样本的个体去噪

There were a few samples in the Direct patch that were too noisy or had low
在Direct补丁中有一些样本太吵或低

frequency bumps – these samples have been addressed and fixed.
频率颠簸-这些样本已经被处理和修复。

Sample Fix – F4, Velocity 101-110, Direct-Room
样品修复- F4，速度101-110，直室

There was a modulated distortion noise on this note – this noise has been
这张便条上有一个调制失真的杂音，这个杂音已经

removed.
移除。

91-110 quick release velocities
91-110快速释放速度

There were issues with the shorter release samples being too quiet in this region – this issue has been fixed.
有个问题是短版本的样本在这个区域太安静了-这个问题已经被修复了。

Various minor adjustments to ADSR curves and some minor volume tweaks on individual samples.
ADSR曲线的各种小调整和个别样本的小体积调整。

Added CC11 (Expression) control
增加了CC11(表达)控制

WHAT’S NEW?
有什么新鲜事吗?

– Fixes for distorted tape samples
-修复扭曲的磁带样本

– Fixes for image shift issues
-修复图像移位问题