However, the resulting piano sound could be poor in clarity (quality), which is basically important in modern productions. I still gotta route them to reverb plugins but I won't worry about the lack of that more hollow and metallic piano sound. This could be rare but I might have actually seen some (Orchestral Tools maybe?). As above-stated the sound could be not convincing in terms of realism since many reverb plugins could fail to generate that more hollow and metallic piano sound.
I've got the CLOSE and DRY samples and route them to reverb that's more distanced. I guess strings are probably similar cases. Let's consider 2 circumstances in terms of piano sample libraries. If I use a hall mic only, that RAH acoustics could be overwhelming, so I mix it with close mics (close to strings players) to balance it.Īnother arising issue is, while there's the need for close or dry samples for the purpose of flexiblility, few people produce without reverb effects. Mixing close, mid and far mics is a practical solution to strike a balance that many singular-equipment recording can't achieve. Piano sound recorded by more remote mics tend to have more hollow and metallic sound to listener's feel that's actually far more than what an average reverb plugin is able to do. An interesting thing I found is, if I wanna create a concert hall piano sound, routing only dry and close mic piano sound signal to a concert hall reverb won't generate the kind of sound that's promising to me with respect to realism. I'm new to strings samples, but I've done loads of searches in piano sample libraries. Many official versions of live performances are just that "clean and dry from a reverberant room", compared to some smartphone-recorded versions.Ĭan't agree more that quality multi-mic recording and mixing could be essential to strings sampling. I'm not an engineer in recording or mixing but I'm sure the pros know many tricks.
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