I was privileged to see the Ravenscroft piano in a dual (duel) piano Jazz presentation. The other piano was a well recognized fine piano. Both instruments were in the 7' category. At one point during the program one of the Jazz musicians said: ``I want to play the good piano``. He played a solo on the Ravenscroft and seemed to be mesmerized. Install instructions are included with each download but you can also download instructions here: Download PDF Instructions. Browser & Controls. NOTE: The download includes 2 separate libraries in the Preset Files folder for UVI Workstation and UVI Falcon. The reason I’m talking about this is that we can’t tell which piano is the best of all time. It totally depends on your taste and the context of the music. Many people say that Synthogy Ivory 2 piano series is the best piano VST in the market now, but before taking this, you need to know your personal piano taste first.
When recording a great piano in the studio, you want options. Versatility in microphone setups is needed to cover any playing style or mix without being limited to one basic tone. Plus the microphone selection and placement in and around the piano affect the stereo image and what tonal aspects of the piano are being recorded.
The four discrete phase-aligned mic setups of the Ravenscroft 275 accurately capture its unique voice in exquisite detail and can be used individually or mixed in any way. World-class mics and preamps were used throughout. Tones from close and intimate, diffuse and distant, warm or brilliant, all can be acheived with one or more of these mics. Load the samples you want and activate or deactivate mics without having to unload and reload the samples. This is the Ravenscroft 275 virtual piano studio.
The Main control panel features the Mic selection and mixing section center stage. Loading microphones is quick and easy while memory usage remains very reasonable. Adjust the mic's volume with the slider and shut the mic off with its power switch. If a mic is loaded but deactivated by switching it off, no polyphony is used and system resources are conserved. Much time is also saved by not having to unload and reload mic samples letting you have quicker access to all the mics at once.
The microphone selection and setups were chosen for their variety of use, the character of the piano we wanted to capture as well as how they compliment one another when mixing.
CLOSE: A mix of mics inside the piano placed over the strings and hammers that capture a punchy detailed tone with a big stereo image. Great for pop/modern playing and hold up well in any mix.
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The Ravenscroft 275 Virtual Piano. It is a deeply sampled piano library that greatly reproduces the tone and play-ability of the Ravenscroft 275 Grand Piano. Personally, I have tried most of the piano libraries out there and none of them comes close to the VI Labs Ravenscroft 275. It is very enjoyable to play. Ravenscroft Pianos are designed and built by Michael Spreeman at his company in Scottsdale, Arizona. After working with renowned jazz pianist and composer Bob Ravenscroft on a custom performance piano built to satisfy Bob's highest demands and expressiveness, Mr. Spreeman formed Spreeman Piano Innovations to build the exclusive line of Ravenscroft Pianos, named after the composer. Meteonorm 6.1 crack free download.
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PLAYER: A stereo pair of mics that capture the sound heard sitting at the keys and pick up more of the hammer attack. More distant than Close mics, they're great for classical and player's perspective while also mixing well with other mics.
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SIDE: A mid-side vintage U87 setup right outside the rim that capture a balance of warmth and detail with a more focused image. Great for jazz and classical and blend well with other mics to add more room or detail. Side mics are also fully mono-capable due to the nature of mid-side.
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ROOM: A mix of mics away from the piano that capture the complete instrument along with the room characteristics. Great for classical and for the unique perspective of the room sound and work great blended with any other mics.