Choco Player For Mac
NEW - Version 2.0 of The 88 Series Pianos engine is out V. 2 represents a new version of our engine. Here are the changes since v.
1.0 (include v. 1.5 too): • BUG-FIXING • Fixed a bug in Mute/Solo logic • Fixed bugs in Release, Resonances and Release Trails samples playback • Fixed some graphics bugs • Other minor bug-fixes • NEW FEATURES • Added Previous/Next Preset buttons • Added support for continuous Sustain Pedal (Half-Pedaling) • Added Advanced Settings page with Key Level Trimmer • Added Credits page • New GUI • IMPROVEMENTS • Vastly improved.nki program for Model D Grand • Dramatically improved CPU and Voice management • Improvements in many small aspects of the pianos.
Done right When we chose to create piano Instruments, we carefully chose which upright piano to start from. When facing grand codas, the choice is rather limited, but upright pianos are a totally different world. We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-of-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones. Macro-phones We didn't settle for a single pair or a limited selection of microphones from the start, we wanted to make sure that the piano, after the sampling and editing process had the best chances to preserve its soul, something which can be hard to achieve.
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For this very reason, we used many more microphones than the ones we ended up with. Choice of Microphones These are the Mics we carefully selected after multiple playing and listening sessions on the edited samples: • a Royer R121 matched-pair in a coincident Blumlein configuration • another Royer R121 mathced.pair in a spaced configuration • a single Neumann M149 tube mic picking up sound from a very particular position • a pair of matched Oktava MK101 capsules to pick up the lively room sound These microphones, by themselves or combined, give you the widest possible gamut of tonal colors you might imagine in an upright piano.
To preserve tonal balance, we even carefully phase-aligned all of the microphones. Mixing a-la-carte. One might think that having four different choices and combinations of mics plus the reverb would make finding the perfect balance impossible. This Instrument, we believe, easily opens up many different sonic worlds by using its on-board mixer.
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