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【新闻】C. Bechstein Digital Grand Available On October 1st 2016
本帖最后由 卧底 于 16-9-30 13:48 编辑
C. Bechstein Digital has announced the C. Bechstein Digital Grand for Native Instruments Kontakt.
This is the first DAW oriented instrument by the new establishment by legendary piano manufacturer C. Bechstein Pianofortefabrik AG.
Why a sampled Bechstein Piano?
Starting the design process by questioning the concept of a sampled Grand Piano.
Apart from the fact that to date a lot of sampled pianos are available to the modern musicians – but no real, authentic Bechstein yet – the concept behind the C. Bechstein Digital Grand represents a completely new and modern approach to the DAW (Digital Audio Workstation) oriented digital grand piano. All the existing solutions and concepts on the market have been completely put to the test and questioned before only the first note was recorded.
This resulted in a kind of reversed process, as between the DAW and the classical grand piano the developers did not start their product design with the actual instrument, they started with analyzing what the modern music producer and musician expects from a professional grand piano for his DAW based music productions.
The C. Bechstein Digital Grand user experience and its user interface now are optimized for both, the enthusiast musician and also the sound design expert. Providing easiest possible access to the C. Bechstein sound, its touch and access to the innovative Instrument parameters.
Capturing that C. Bechstein Sound
“In mid-19th century young C. Bechstein visited a Liszt Piano recital and witnessed the furor of the pianist breaking the grand piano gradually into pieces. From then on it was the young piano maker’s ultimate goal to create instruments that handle the full range of lyrical and dramatic melodies. It was the beginning of a fairytale like success story.” Source: The Becchsteins – A family story
The acoustic role model for the software incarnation of a C. Bechstein grand is a carefully selected C. Bechstein D 282 – a concert grand that is already setting standards in terms of dynamic development and powerful sound per se. With its ability to highlight and emphasize even the most subtle melody lines through its unparalleled richness of tone colors, the D 282 belongs to the best modern concert grand pianos in the world. To extract the tonal personality of this piano a completely new recording process and workflow was needed and created.
A different approach to sampling a grand piano
In contrast to the common approach recording a grand piano for sampling the C. Bechstein team preferred a rather minimalistic method. Instead of recording dozens of microphone signals, which usually are mixed together at the postproduction stage much later in the process, they decided to focus on recording from just 3 classic listening positions. These were captured with only 5 microphones (24 bit/ 192 kHZ, Swiss Made Merging Technologies converters, http://www.merging.com/products/networked-audio). An additional stereo signal capturing the direct and close “aura” of the grand piano also can be dialed in fully in phase from the software instrument.
传奇钢琴制造商 C. Bechstein 新成立 C. Bechstein Digital，在 10月1号发布一个用于DAW 的虚拟钢琴乐器：C. Bechstein Digital Grand
价格：249 EUR （欧元） 10月1号正式发售
More information: C. Bechstein Digital
C. Bechstein Digital has announced the C. Bechstein Digital Grand for Native Instruments Kontakt.
This is the first DAW oriented instrument by the new establishment by legendary piano manufacturer C. Bechstein Pianofortefabrik AG.
Why a sampled Bechstein Piano?
Starting the design process by questioning the concept of a sampled Grand Piano.
Apart from the fact that to date a lot of sampled pianos are available to the modern musicians – but no real, authentic Bechstein yet – the concept behind the C. Bechstein Digital Grand represents a completely new and modern approach to the DAW (Digital Audio Workstation) oriented digital grand piano. All the existing solutions and concepts on the market have been completely put to the test and questioned before only the first note was recorded.
This resulted in a kind of reversed process, as between the DAW and the classical grand piano the developers did not start their product design with the actual instrument, they started with analyzing what the modern music producer and musician expects from a professional grand piano for his DAW based music productions.
The C. Bechstein Digital Grand user experience and its user interface now are optimized for both, the enthusiast musician and also the sound design expert. Providing easiest possible access to the C. Bechstein sound, its touch and access to the innovative Instrument parameters.
Capturing that C. Bechstein Sound
“In mid-19th century young C. Bechstein visited a Liszt Piano recital and witnessed the furor of the pianist breaking the grand piano gradually into pieces. From then on it was the young piano maker’s ultimate goal to create instruments that handle the full range of lyrical and dramatic melodies. It was the beginning of a fairytale like success story.” Source: The Becchsteins – A family story
The acoustic role model for the software incarnation of a C. Bechstein grand is a carefully selected C. Bechstein D 282 – a concert grand that is already setting standards in terms of dynamic development and powerful sound per se. With its ability to highlight and emphasize even the most subtle melody lines through its unparalleled richness of tone colors, the D 282 belongs to the best modern concert grand pianos in the world. To extract the tonal personality of this piano a completely new recording process and workflow was needed and created.
A different approach to sampling a grand piano
In contrast to the common approach recording a grand piano for sampling the C. Bechstein team preferred a rather minimalistic method. Instead of recording dozens of microphone signals, which usually are mixed together at the postproduction stage much later in the process, they decided to focus on recording from just 3 classic listening positions. These were captured with only 5 microphones (24 bit/ 192 kHZ, Swiss Made Merging Technologies converters, http://www.merging.com/products/networked-audio). An additional stereo signal capturing the direct and close “aura” of the grand piano also can be dialed in fully in phase from the software instrument.
传奇钢琴制造商 C. Bechstein 新成立 C. Bechstein Digital，在 10月1号发布一个用于DAW 的虚拟钢琴乐器：C. Bechstein Digital Grand
价格：249 EUR （欧元） 10月1号正式发售
More information: C. Bechstein Digital
一万里无情路 发表于 16-10-3 13:13
C. Bechstein 附几个真实录音，看看和软音源有什么区别。
虽然音质不怎么样，但感觉软音源还是挺准确地捕捉到了Bechstein的音色那种最然不如steinway大气却多点飘逸性感的特点
RyanLee95 发表于 16-10-3 15:19
虽然音质不怎么样，但感觉软音源还是挺准确地捕捉到了Bechstein的音色那种最然不如steinway大气却多点飘 ...
你确定不如施坦威大气？
一万里无情路 发表于 16-10-3 13:13
C. Bechstein 附几个真实录音，看看和软音源有什么区别。
玛德 Damme love it!
本帖最后由 卧底 于 16-10-3 16:40 编辑
大家有没有发现钢琴音源里，同等力度的两个或更多的音符叠加后，比单个音符的音量大不少。
在一个曲子里有柱式和弦的地方，往往要减低力度，才能达到音量平衡。
在真实自然的环境里，当两个音符同时弹奏时，在空气中叠加才录进Mic的。
在运行软音源的电脑里，感觉是两个音的分贝电平在数字上的相加(相当于一个音符一轨道的混音过程)，无法重现每个音符在现实空气中混合的效果。
这可能是有些钢琴音源弹奏单个音是不错的，用MIDI编写一首音乐时就不自然不真实了的原因。
其他类型的音源也有此类通病，如果能模拟一个乐器弹奏的每个音在空气中混合的效果就又一大进步了。
大家有没有发现钢琴音源里，同等力度的两个或更多的音符叠加后，比单个音符的音量大不少。
在一个曲子里有柱式和弦的地方，往往要减低力度，才能达到音量平衡。
在真实自然的环境里，当两个音符同时弹奏时，在空气中叠加才录进Mic的。
在运行软音源的电脑里，感觉是两个音的分贝电平在数字上的相加(相当于一个音符一轨道的混音过程)，无法重现每个音符在现实空气中混合的效果。
这可能是有些钢琴音源弹奏单个音是不错的，用MIDI编写一首音乐时就不自然不真实了的原因。
其他类型的音源也有此类通病，如果能模拟一个乐器弹奏的每个音在空气中混合的效果就又一大进步了。