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Topic: Sample wishes!

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  1. #1

    Sample wishes!

    We need more sounds and we all probably have alot of ideas and thoughts about what kind of sounds we want to see in future sound librarys. Im dreaming of big bombastic orchestral sounds and alot of other sounds too..

    What kind of sample dreams do you guys have?

    /Tobias

  2. #2

    Re: Sample wishes!

    I\'ll have a celesta please Tob. [img]images/icons/smile.gif[/img]

  3. #3

    Re: Sample wishes!

    Hi, I made the Celesta sample which is available on Post Orchestral Instruments.
    Are there people who use it and feel the need for a multi-velocity-layered Celesta?
    Michiel Post

  4. #4

    Re: Sample wishes!

    Originally posted by Michiel Post:
    Hi, I made the Celesta sample which is available on Post Orchestral Instruments.
    Are there people who use it and feel the need for a multi-velocity-layered Celesta?
    Michiel Post
    <font size=\"2\" face=\"Verdana, Arial\">Why not a distant recorded

  5. #5

    Re: Sample wishes!

    I would like to have a piano that sounds warm and tender like on old jazz recordings...OR...a piano that sounds like the \'Beatles\' Abbey Road Grand...or the Abbey Road Tack Piano! [img]images/icons/smile.gif[/img]

    JPS

  6. #6
    Senior Member Bruce A. Richardson's Avatar
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    Re: Sample wishes!

    [/QUOTE]Why not a distant recorded[/QUOTE]

    A distant recorded celesta would be a disaster. Michiel\'s sounds great, and takes reverb like a champ.

  7. #7

    Re: Sample wishes!

    It does indeed take well to reverb - especially Altiverb but it could do with some more velocities. Just three would do it I think. If you can keep the same sound with these extra velocities and the price the same Michiel then I would be interested. [img]images/icons/smile.gif[/img]

    Bruce, I\'m interested to know how the celesta was recorded on Hedwig\'s theme? Sounds pretty distant to me.....

  8. #8

    Re: Sample wishes!

    I also have the Post celesta and really like it. Altough I\'ve only used it for simple things, I\'ve never been disappointed by the sound. Perhaps if someone is composing a piece which really features a celesta, they might need more velocity splits - but the Post celesta is a great place to start.

  9. #9
    Senior Member Bruce A. Richardson's Avatar
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    Re: Sample wishes!

    Originally posted by Hasen:

    Bruce, I\'m interested to know how the celesta was recorded on Hedwig\'s theme? Sounds pretty distant to me.....
    <font size=\"2\" face=\"Verdana, Arial\">I wasn\'t there, so can\'t tell you.

    I do know that standard practice on most soundstage sessions is either x/y or a/b stereo overheads for the entire ensemble at approximately conductor location and height sufficient to get an equidistant feed from all sections, with spot mics usually 3-4 feet max from any given section/instrument.

    The problem with recording a sampled celesta mic\'ed distantly would be an overwhelming noise content. If you wanted to record some really bashed percussion that way, you could get away with it, but a celesta played as hard as you can play it probably won\'t get too far above the air handlers.

    Even if you\'re talking about an orchestral recording of a celesta section with NO spot mics, that is quite a different beast. For one thing, the noise is equally distributed over the entire recording (probably reduced accordingly in post production) and doesn\'t come in and out when notes are sounded. Second, there is only the potential for 1x the ambient noise level...it is what it is.

    Record that level of noise on a sample session, though, and your noise level not only comes in and out with the instrument (and each instrument in the production), but you get Nx noise, with N being polyphony. Play an eight note chord, you suddenly inject 8x the noise.

    The last thing I want to do is start up this debate again. What I hope to point out is that no matter what side of the issue one happens to stand upon, distant mic\'ing a celeste for a sample library is an idea that everyone should be able to agree is bound for failure.

    Michiel\'s celesta does sound really great. I\'ve used it a number of times. Production wise, if you\'d like to send it farther back in the mix, I\'d follow these steps:

    1) Pan the instrument to one side or the other about 75%

    2) Reduce the frequencies above 2k or so to take away some of the immediacy. Also, you may want to reduce frequencies below 200-300 hz, so that any mechanical noise in the recording doesn\'t have telltale \"fullness.\"

    3) Use a reverb setting which has both a nice wall bounce, and some air (high frequencies) in the tail. This is your compensatory gesture for reducing the highs in the sample itself. By having \"bright\" air, you further distance the sample (in this case, the celesta), without adding overall noise.

    Hope that helps out...it\'s how people make it happen in studios every day. There is just not that much \"distant\" mic\'ing happening outside the college recitals and performances of the world, because it just doesn\'t work in practice. Telarc uses spot mics like crazy in the Meyerson Symphony Center here in Dallas, even though it is truly one of the quietest halls ever built.

  10. #10

    Re: Sample wishes!

    Originally posted by Bruce A. Richardson:
    The problem with recording a sampled celesta mic\'ed distantly would be an overwhelming noise content. If you wanted to record some really bashed percussion that way, you could get away with it, but a celesta played as hard as you can play it probably won\'t get too far above the air handlers.
    QB]
    <font size=\"2\" face=\"Verdana, Arial\">I experienced this when i tryed to sample a cembalo distant in the famous G-Town church.. way too much noise.. could actually hear the seagulls outside when ive normilized it, hehe.. so i trashed them.

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