Yamaha C7.pdf - Post Musical Instruments

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V-Pro Plate Yamaha uses V-Pro (Vacuum Shield Mold Process) in casting the iron frame (plate). Balanced Action Each key of a Yamaha piano is individually tested and measured for the corrections needed to obtain uniform "down weight" pressure. Uniform Key Travel Yamaha designs all grand and vertical pianos to have the same key travel. Spruce Keys Yamaha uses Spruce for the keys. Spruce is very light and possesses a very high ratio of strength to weight. Specifications: Depth: (Length) 7'6" (227 cm) Height: 40 inches (102 cm) Width: 61 inches (155 cm) Net Weight: 873 lbs (397 kg) Soundboard: 2666 square inches Speaking length of #1 bass string: 66.2 inches Number of backposts: 4 White Keys: Ivorite Black keys: WPC (Wood Composite) Duplex Scaling: YES Tone Collector: YES Middle pedal function: Sostenuto "Soft-Close" Fallboard: YES Recording concepts When we planned this library we faced the next concept: - Choice of close and distant micing. We wanted to record a grand piano with both techniques to satisfy both camps and ensure that the sample would have enough brilliance or natural ambience for its specific application. - As many velocity levels as possible. In order to achieve a smooth response over the whole keyboard we wanted as many velocity layers as possible. - Pedal down and pedal up samples. - Reverberating release samples – if possible we wanted to record the piano in a concert hall. - Above all, a full bodied, consistent, well maintained instrument. One of the biggest strengths with any sampled grand piano is the regularity across the keyboard, the absolute right tuning and the level of maintenance. We wanted a crystal clear recording. … a highly accurate reproduction of the sound of the more distant air (where the overtones "mingle") and vibrating wood that create much of the timbre. About the recording A concert grand piano is among the largest and most versatile acoustical instruments in the world. Capturing the natural timbre and the full dynamics of such an instrument is very complicated. Furthermore, the grand piano interacts with the room in which it is placed and the recording method requires independent consideration in each situation and each location. Even how it is played will influence the choice of microphone technique. 4 The room acoustics are such an important factor when recording a concert grand piano, that it is important to assess whether the room will do justice to the instrument or not. A concert grand piano is build for playing in concert halls where the reverberation times normally are acoustically tuned between 0,9 seconds to 1,3 seconds at 500 Hz and the
oom volume is minimum10.000 cubic meters. Concert halls specially designed for playing Wagner can even have reverberation times around 2 seconds. With the lid open, the concert grand piano is capable of giving a full musical experience to the audience throughout the hall. This must be taken into account when recording in a recording studio. Finding a good location with a well tuned grand piano is the first thing to do - and the hardest. When you listen to a piano in a concert setting the hearing distance is much larger and the overall reflections of the concert hall have added up and summed the individual frequence radiations to a certain mixed sound picture. This is mainly a positive picture. Listening to famous concert halls learns that each hall has its own characteristics in frequency response and total impression. When you place a microphone in a typical concert hall position (12 meters or more from the source) the signal to noise ratio will become un-usable for sampling. The choice of recording method also depends on the repertoire to be played. Classical piano music deserves a natural blend of ambience, but different composers all have their own characteristics which leave more or less space for the ambience to influence the music. Many a record producer and sound engineer has added his own interpretation of the grand masters' notes while immortalizing their compositions through a pair of microphones. Rhythmic music and jazz traditionally are played in different types of locations. Therefore the listener's expectations of the timbre and the ambiance are somewhat different. In many cases, it was the composer's intention that his work be replayed on a hi-fi system in the home environment. The room acoustic of the location in which the jazz piano has been recorded is therefore judged by different and possibly less critical criteria, but, to give the grand piano its unique timbre, the recording still needs to convey a sense of location. This will furthermore give the listener a sensation that will bring him to the edge of his chair, so to speak. Classical piano music and A-B stereo When recording classical piano music, the finest results come out of two omnidirectional microphones in an A-B stereo setup in front of the grand piano. The A-B stereo pair is placed on the side of the piano to give the listener an illusion of being a part of the audience. By adjusting the distance to the piano and the exact placement next to the piano, the amount of ambience and the timbre of the instrument can be tuned. Placements around the mid of the piano 1 to 2 meters away are often preferred. The microphones are normally spaced between 40 to 60 cm and the stereo image is adjusted, so the pianist is to the left, of course. The height of the stereo boom is quite low, 1.2 m to 1.5 m above the boundary on which the piano is placed. By pointing the microphones to the open lid of the piano, the sound reflecting on the inner side of the lid will be brightened up and a beautiful depth will be added to the recording. Classical piano and X-Y stereo When recording classical piano music, the second best method is the use of two directional microphones in an YX-Y stereo setup in front of the grand piano. The X-Y stereo pair is placed on the side of the piano and gives the listener an illusion of the piano nearby. Again, by adjusting the distance to the piano and the exact placement next to the piano, the amount of ambience and the timbre of the instrument can be tuned. Placements around the mid of the piano closer than 1 meter to the instrument are often preferred. By pointing the microphones to the open lid of the piano, the sound reflecting on the inner side of the lid will be brightened up and a beautiful depth will be added to the recording. 5 Please note that the sound pressure level inside a concert grand piano can exceed 130 dB SPL peak 20 cm over the strings. So special care is needed when choosing microphone types.
Page 2 and 3: GRANDIOSO YAMAHA C7 CREDITS Produce
Page 6 and 7: This Yamaha C7 grand piano has been
Page 8 and 9: Figure 3 Approximate form of the av
Page 10: THE YAMAHA C7 PATCHES The provided
Page 13 and 14: MAPLE + GRANDIOSO FX To overcome th
Page 15 and 16: NOTES 15
Page 17: World wide distribution ———

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