CineSamples Piano In Blue PROPER KONTAKT AudioP2P
In 1981 Columbia closed its doors and this piano was brought to Clinton. In addition to the grand two of the original Columbia Nuemann U49 microphones made the journey also. These were two of the five (or six) microphones originally used on the Kind of Blue date. We were fortunate enough to sample this special grand using these two original microphones.
We were provided a unique opportunity to preserve an important piece of musical history in its
final days. Word had come to us that the historic Clinton Recording Studios in midtown
Manhattan was forever closing its doors, destined to be transformed into a modern condominium
One of the many treasures contained therein was this particular Steinway Model D Concert Grand
which used to live in the Columbia Records 30th Street Studios. The CBS 30th Street Studio,
ôThe Churchö was perhaps the most influential recording studio of the 50Æs and 60Æs producing
dozens of legendary albums in various genres.
Of those recordings this piano played a critical role in two albums which are still considered
among the finest recordings of all time. First being the original Glenn Gould
ôGoldberg Variations,ö the most critically received classical album of all time. Four years
later came Miles DavisÆ ôKind of Blueö which forever altered music.
A friend of ours, John Davis, did a scoring session at Clinton and let us know about the
closing as this day was to be the final date. As the conversation drifted from the saddening
state of affairs for large stages we came to talk about why this particular stage was a
special place. Although I had previously worked at the this studio I was never aware that the
grand in the corner was the ôone pianoö used in so many of my favorite recordings.
At the time we were in Seattle conducting some non-cinesamples recordings. Mike and I walked
over to secure a copy of Ashley KahnÆs paperback Kind of Blue: The Making of the Miles Davis
Masterpiece. This book pushed us across the threshold and the vision for this session
started to become a reality.
As Patti headed back home to put the finishing touches on the Seattle project Barry caught a
red-eye that night for Manhattan. We had arranged to extend the closing date of Clinton by
one day, just ensuring us enough time to sample this extraordinary instrument. Much of the
gear being used was already up on Ebay. It was the last session ever recorded at Clinton.
1949 Steinway D via Neve 8078 Console
8 Velocity Layers Sampled Chromatically
3 Microphone Positions
Close/Vintage û 2x Neumann M49 near the lid
Mid û 2x B&K 4007 at the tail of the piano
Far û 2x Sennheiser MKH20's in the hall
2 Processing Paths (Tape; Direct in)
Studer A800MKIII 24 Track Analog Tape Machine
Programmed by Sam Estes; scripted by Greg Schlaepfer; recorded by Tim Starnes
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