No reverb, 5 mics: Video: http://youtu.be/s59wAE3EMDM
16bit, 48kHz WAV straight out of PianoTeq http://depositfiles.com/files/rbxfbg7cc
Marketing but with the actual D's sound? Video: http://www.youtube.com/watch?feature=pl...H2w#t=224s
Steinway 125 Years Documentary with the Grand: http://www.youtube.com/watch?feature=pl...0dE#t=589s Reminds me of something
No reverb for pref, and 5 mics very worthwhile area for experiment.
Marketing definitely (read 'digital boosting' - the sound's too formidable to believe in, while the temptation's too obvious not to). Altogether, makes a mockery of the claim (as I saw the other day, perhaps on Pianoworld) that pianists use digital keyboards for development, but acoustic when recording. Talk about snobbery. Make that stuck, in the past.
TOO, CAN'T RESIST POSTING : http://www.youtube.com/watch?feature=fv...Q&NR=1
Sure the piano helps, and the composer back of all, but "what makes the music sweetest is the singer not the song".
Wauw thanks for the video, I like the higher bell tones very well, it's very well recorded but I find the piano itself too hard / harsh sounding in the middle, might be the standard A=440Hz reference frequency and equal temperament or how is it tuned to you know?
You'd be amazed how tuning and temperament afffect the sound!
I have made a video were I show well temperament vs equal and others, using A=416 and A=432 resp. it's very very amazing to hear what it does even to the standard presets.
I encourage to look up Verdi tuning, and Mozart used C=256Hz too (A becomes 432Hz)
Video: https://www.youtube.com/watch?v=IZiWJLIgfwo
Wikipedia:
Some theorists, such as Giuseppe Tartini, were opposed to the adoption of equal temperament; they felt that degrading the purity of each chord degraded the aesthetic appeal of music, although Andreas Werckmeister emphatically advocated equal temperament in his 1707 treatise published posthumously.
J. S. Bach wrote The Well-Tempered Clavier to demonstrate the musical possibilities of well temperament, where in some keys the consonances are even more degraded than in equal temperament. It is reasonable to believe[weasel words] that when composers and theoreticians of earlier times wrote of the moods and "colors" of the keys, they each described the subtly different dissonances made available within a particular tuning method.