This is my early 1960s Weber upright played with a wooden mallet. I’ve done all kinds of film score recording with the mallets on the strings but it’s so hard to keep track of the notes and easy to hit strays that parts always had to be pretty minimal and subject to lots of DAW editing. I sampled the piano to make it more conventionally playable. I sampled it before tuning it to keep the spooky harpsichord quality.
It’s recorded with a stereo pair of the Slate VMS2 modeling mics and a large diaphragm VMS1 overhead. The stereo pair are modeling Royer ribbons and the large diaphragm a Neuman U67 through a gentle compressor.
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The uncontrollable Piano-Haprsichord child
I could be wrong but, to me this sounds like something inbetween a harpsichord and a piano. The samples themselves have a release trigger that you are unable to remove, and they are also are surrounded by a little white noise that can build up with chords or by using the sustain pedal. If you release the sustain pedal you also get the full feedback of all the notes' release triggers, and that's very unfortunate. The strongest problem though is that there are 2 velocity layers which greatly differ in terms of volume, and that kind of destroys the playability of it.