Recording - November 2010 - 64

RECORDING'S
realsamples Edition Beurmann Libraries
German keyboard collector Andreas Beurmann and the folks at realsamples have created a completely unique set of sound libraries. They are using high-quality mics and preamps to create pristine sample sets from really vintage keyboards—from 100 to nearly 400 years old! These museum pieces have distinctive and marvelous sounds, and we were pleased to review three of them recently for this special issue on keyboards. They’re installed by drag and drop, and generally have from 1 to 3 GB of content in them, including round-robin samples of every key (at multiple velocity levels where appropriate), and multiple release samples. How much you can take advantage of these samples depends on your sample player; for example, the Kontakt instruments will do more with round-robin sample playback than, say, EXS24. The recording quality is exquisite, with Neuman or Wagner mics, Crane Song preamps, and Universal Audio conversion. All samples were captured at 24-bit/192 kHz and carefully downsampled to 24-bit/44.1 kHz for these libraries. The Dyson & Sons Dulcitone is a British celeste from 1910 often used for classical and theater music (there’s a famous celeste part in The Nutcracker Suite); it’s a forerunner of the modern electric piano, with metal tuning forks struck with hammers to produce bell-like tones. There are two sets of samples to choose from; the celeste is a notoriously finicky instrument to play, but its quirky character is well-represented here with two distinct multisample sets.

SHOWCASE OF SOUNDS

The Lautenwerck, however, is the real find here, at least in this author’s opinion. It’s an instrument that Bach apparently wrote for in his day, but one that has no surviving examples anywhere in the world! Until recently, music historians assumed that Bach’s compositions were intended for the lute, and it was only in 1995 that an ambitious luthier named Ludwig Richter attempted to build a real Lautenwerck (“lute-harpsichord”) from the surviving descriptions. The resulting instrument is like a giant lute with a harpsichord action attached; while it has no velocity sensitivity, it has an exquisite sound—as you’d expect, like a cross between a harpsichord and a giant lute, with lovely sustain and overtones. A total winner, even after you adjust for its recorded concert pitch of A = 412 Hz (Valotti tuning). I’ll let the covers do the rest of the talking here; these unique instruments are like nothing you can find anywhere else, and the world-class recording quality and the detailed design of the sample libraries themselves represents them in all their glory. Check them out. Delivery Medium: one or two DVDs per product Format: sample libraries for Steinberg HALion, Native Instruments Kontakt 2 or better, Apple EXS24, and GigaStudio 3; libraries require host applications in place License: No royalties on compositions made with these samples; libraries are licensed and non-transferable. Documentation: PDF historical pamphlets with illustrations, in German and English Prices: $139.95 each More from: realsamples, www.realsamples.de

The Orphica was the first “keytar”; made in 1798 byViennese designer Carl Leopold Röllig, it was designed to be worn on a strap and played outdoors. It’s a clavichord-like instrument with a 3-octave range (F to F), sampled with 16 velocity layers here and with release samples capturing the hammer and damper noise. It’s a delightful alternative to conventional piano sounds, with a surprisingly rich midrange (Herr Beurmann calls it “chocolate”) and ringing highs. It was recorded with its original concert pitch of A = 402 Hz, so be ready to do some judicious pitch adjustment if using it with conventionally tuned instruments.
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RECORDING NOVEMBER 2010


http://www.realsamples.de

Recording - November 2010

Table of Contents for the Digital Edition of Recording - November 2010

Recording - November 2010
Contents
Fade In
Talkback
Fast Forward
A Studio Journey With Larry Carlton
Akai MPK Series USB/MIDI Keyboard Controllers
The Keys To The Studio
Telefunken Elektroakustik AR-51 Tube Microphone
Novation SL MkII USB Controllers
ADAM Audio A3X Active Monitors
DAW Details
Waves Tony Maserati Artist Signature Collection
Solid State Logic XLOGIC Superanalogue X-Rack and X-Desk
Roland GAIA SH-01 Synthesizer
Recording’s Keyboard Column
It’s Your Music—Know Your Rights. Chapter 8: Digital Distribution
Korg microSTATION
Readers’ Tapes
Recording’s Showcase of Sounds
Advertiser Index
Fade Out
Recording - November 2010 - Recording - November 2010
Recording - November 2010 - Cover2
Recording - November 2010 - 1
Recording - November 2010 - Fade In
Recording - November 2010 - 3
Recording - November 2010 - Contents
Recording - November 2010 - 5
Recording - November 2010 - Talkback
Recording - November 2010 - 7
Recording - November 2010 - Fast Forward
Recording - November 2010 - 9
Recording - November 2010 - 10
Recording - November 2010 - 11
Recording - November 2010 - A Studio Journey With Larry Carlton
Recording - November 2010 - 13
Recording - November 2010 - 14
Recording - November 2010 - 15
Recording - November 2010 - 16
Recording - November 2010 - 17
Recording - November 2010 - Akai MPK Series USB/MIDI Keyboard Controllers
Recording - November 2010 - 19
Recording - November 2010 - The Keys To The Studio
Recording - November 2010 - 21
Recording - November 2010 - 22
Recording - November 2010 - 23
Recording - November 2010 - 24
Recording - November 2010 - 25
Recording - November 2010 - Telefunken Elektroakustik AR-51 Tube Microphone
Recording - November 2010 - 27
Recording - November 2010 - 28
Recording - November 2010 - 29
Recording - November 2010 - Novation SL MkII USB Controllers
Recording - November 2010 - 31
Recording - November 2010 - 32
Recording - November 2010 - 33
Recording - November 2010 - ADAM Audio A3X Active Monitors
Recording - November 2010 - 35
Recording - November 2010 - DAW Details
Recording - November 2010 - 37
Recording - November 2010 - Waves Tony Maserati Artist Signature Collection
Recording - November 2010 - 39
Recording - November 2010 - Solid State Logic XLOGIC Superanalogue X-Rack and X-Desk
Recording - November 2010 - 41
Recording - November 2010 - 42
Recording - November 2010 - 43
Recording - November 2010 - Roland GAIA SH-01 Synthesizer
Recording - November 2010 - 45
Recording - November 2010 - 46
Recording - November 2010 - 47
Recording - November 2010 - Recording’s Keyboard Column
Recording - November 2010 - 49
Recording - November 2010 - 50
Recording - November 2010 - 51
Recording - November 2010 - 52
Recording - November 2010 - 53
Recording - November 2010 - 54
Recording - November 2010 - 55
Recording - November 2010 - It’s Your Music—Know Your Rights. Chapter 8: Digital Distribution
Recording - November 2010 - 57
Recording - November 2010 - Korg microSTATION
Recording - November 2010 - 59
Recording - November 2010 - Readers’ Tapes
Recording - November 2010 - 61
Recording - November 2010 - Recording’s Showcase of Sounds
Recording - November 2010 - 63
Recording - November 2010 - 64
Recording - November 2010 - Advertiser Index
Recording - November 2010 - 66
Recording - November 2010 - 67
Recording - November 2010 - 68
Recording - November 2010 - 69
Recording - November 2010 - 70
Recording - November 2010 - 71
Recording - November 2010 - Fade Out
Recording - November 2010 - Cover3
Recording - November 2010 - Cover4
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