Edited by Ludvig Carlson Photos by Johanna Hanno Additional photos by Adrian Nilson and Kristoffer Wallman The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. 2006 Propellerhead Software and its licensors. All specifications subject to change without notice. Reason is a trademark of Propellerhead Software. All other commercial symbols are protected trademarks and trade names of their respective holders. REASON PIANOS MANUAL 1 Table of Contents 1 Table of Contents 1 Getting Started 3 Introduction 7 Using Reason Pianos 8 ReFill Folder Index 8 Credits & Thanks Getting Started System Requirements When designing Reason Pianos, we set out to strike an optimal balance be- tween sound quality and resource allocation. In other words, we wanted to give you the best piano tool possible, but not at the expense of stealing the entire RAM of your computer. Having said that, Reason Pianos is nonetheless a so- phisticated ReFill for professional use, and is therefore not suited for low-end systems. Minimum system requirements: Windows: Reason 3.0 or later Intel P4 1.4 GHz / AMD Athlon XP 512 MB RAM DVD drive Mac OS X: Reason 3.0 or later Macintosh G4 1.0 GHz 512 MB RAM DVD drive Recommended system requirements: Windows: Reason 3.0.4 or later Intel P4 2.4 GHz 1024 MB RAM Low-latency ASIO compatible soundcard DVD drive Mac OS X: Reason 3.0.4 or later Macintosh Intel, G5 or Dual G4 1.4 GHz 1024 MB RAM DVD drive REASON PIANOS MANUAL 2 DVD-ROM Contents - Overview In the root directory of the DVD-ROM you will find the following: D Reason Pianos - 16.rfl (file) D Reason Pianos - 24.rfl (file) These ReFills have identical content, with one major exception: The sample for- mats - 16- and 24-bit, respectively. The two editions are 100% interchangeable, however they cannot co-exist in a location Reason is aware of (meaning any lo- cation which is listed on the Locations pane in the browser), so if you plan on al- ternating between the two you must place the one you're not using for the moment outside of your designated ReFill locations. More on this in the following section, "Installation". ReadMe.rtf (file) A "Read Me" document, containing important last minute notes about the Rea- son Pianos DVD-ROM. Reason Pianos Documentation (folder) Contains the Reason Pianos Manual in Acrobat (PDF) format. RPi Demo Songs (folder) Contains demo songs in Reason rps format. RPi ReWire Demo Projects Contains demo projects for a variety of ReWire hosts, showing how Reason Pianos can be used together with a DAW application. Other Propellerhead Products (folder) Here you'll find demo versions of ReCycle 2.1, Reason Drum Kits 2.0 and some additional info about other products by Propellerhead Software. Acrobat Reader (folder) This folder contains Mac OS X and Windows installers for the International En- glish version of Acrobat Reader, an application required for opening PDF files such as the Reason Pianos documentation. If you would prefer a localized ver- sion, you can download the appropriate installer directly from www.adobe.com/ reader/. ReWire Installers (folder) Contains ReWire installers for Mac and Windows. These install a new, improved version of ReWire with significantly shorter sample loading times. Installation Simply drag the ReFill file of your choice (Reason Pianos - 16.rfl or Reason Pi- anos - 24.rfl) from the DVD-ROM to the folder where you keep your ReFills. Which one should I choose - 24 or 16 bits? In order to determine which ReFill version to pick, you need to consider the fol- lowing questions:: Is your computer powerful enough to handle 24 bits? (CPU speed, system bandwidth, RAM size, audio card) Do you have any practical and/or creative need for the 24-bit format? Are you prepared to dedicate the extra disk space required for the 24-bit version? Are you concerned about workflow issues such as loading and browsing time? If the answer to two or more of the above questions is no, the choice is easy - pick the 16-bit version. Conversely, if the answer to all four questions is yes, opt for the 24-bit version. If you're still undecided, you may want to consider this so- lution: Use the 16-bit version while you're composing, arranging and mixing, and once you're ready and set to render an audio mixdown you can temporarily re- place the 16-bit version with the 24-bit version. Since the above four questions are non-issues for offline rendering, when Reason works at whatever pace the computer can handle, this method gives you the best of both worlds - efficiency, speed and power conservation during the creative stage, and supreme audio quality at the mixdown stage. Note: Since the ReFill editions are designed to be interchangeable, all data ex- cept the sample resolution is identical - therefore they cannot co-exist in any lo- cation where Reason scans for ReFills, such as the Reason program folder, the Desktop, or any additional folders you have added to the Locations pane in the Reason browser. If you plan on alternating between the two, the version not in use must always be kept outside of Reason's view! If you have a computer with lots of power and bandwidth, you can safely go for the big version, and enjoy the Reason Pianos ReFill in glorious 24-bits at all times! REASON PIANOS MANUAL 3 Introduction Acoustic piano recording is a true art form. Every engineer has his own favorite methods and every style of music requires its own unique approach. For exam- ple, rock piano is typically recorded by placing the mics inside the open piano lid - close to where the hammers hit the strings - as this produces a bright and per- cussive sound. For jazz piano, on the other hand, you'll want a more mellow and warm tone - therefore you move away from the hammers and instead focus on the rear of the piano and the soundboard, perhaps including a bit of room ambi- ence as well. Since the recording method is largely dictated by the type of music, sampling a piano presents a dilemma: You can't squeeze a rock or pop piano sound out of samples recorded with a jazz piano approach, and vice versa. One could of course sample the piano employing two or three of the more common mic place- ments, but again this limits the control and flexibility, and the end user will have to use EQ:ing and other tweaks to approximate the desired sound - whereas the engineer in the live recording situation would simply switch to other mics or po- sition them differently. Our solution was to record the pianos using ten microphones, covering practi- cally every way in which a piano might be recorded. This allows you to be the en- gineer and to pick and mix your favorite microphone combinations. We opted for two mono mics and four stereo pairs: Two tube mics close to the hammers, two pressure zone mics on the floor, two vintage tube mics capturing the room ambi- ence, two vintage tube mics in the traditional "jazz mic" positions, one dynamic mic under the soundboard bottom and one ribbon mic placed five feet out from the waist of the grand piano (or the back of the upright piano). Ambience Stereo Mic (AKG C24) Yamaha C? Close Mics (Didrik De Geer M49) Pibbon Mic (Poyer P122) 1azz Mics (Neumann M269) Bottom Mic (Beyer Dynamic M380) Floor Mics (Sennheiser PZM) Ambience Mics (Neumann M250) Steinway D Ambience Mics (Neumann M250) Close Mics (Didrik De Geer M49) Pibbon Mic (Poyer P122) 1azz Mics (Neumann M269) Bottom Mic (Beyer Dynamic M380) Floor Mics (Sennheiser PZM) REASON PIANOS MANUAL 4 * XY configuration: Stereo mics placed close together in 'V' shape at a 90 coincidence. ** AB configuration: Stereo mics placed several feet apart and tilted slightly away from eachother. *** Blumlein configuration: Similar to XY, except the microphones are bi-directional. Featured instruments Yamaha C7 Grand piano 7' 6" (227 cm) Yamaha's finest "Concert Collection" grand, appearing on many famous concert stages and classic pop albums. A very popular grand for studio recordings. Steinway D Grand piano 8' 11-3/4" (274 cm) The Model D is considered Steinway's flagship, a $105.000 concert grand pi- ano on which the company's reputation rests. Steinway K Upright piano Top of the line Steinway upright model. The one we sampled was manufactured in 1927. | Mic positions and characteristics | Mic and preamp brands and models Close mics (stereo) Positioned in XY configuration* approximately 8 inches above the hammers. The close mics produce a distinct sound with a sharp attack, ideal for uptempo pop/rock. Didrik De Geer M49 (hand-made tube mics) XY configuration* Fairman TMA preamp Jazz mics (stereo) Two mono mics positioned just outside the lid opening, one at the back, one at the "waist". This gives a full bodied sound with a wide stereo image and a less pronounced attack Neumann M269 (vintage tube mics) AB configuration** API 312 preamp Bottom mic (mono) Mono mic situated 8 inches below the soundboard, for the express purpose of adding more low range. Works particularly well in combination with the ribbon mic. BeyerDynamic M380 (dynamic mic) Fairman TRC preamp Ribbon mic (mono) Old school mono mic with vintage characteristics and a narrow frequency response with the emphasis in the mid range. It's positioned 5 feet away from the middle of the soundboard. Royer R122 API 312 preamp Floor mics (stereo) These mics lay flat on the floor just behind the front legs of the grand piano (and behind the upright piano). They add depth and richness to the sound and are best used as a complement to the other mics. Sennheiser PZM (pressure zone mics) Tubetech MP1A preamp Ambience mics (stereo) Capture the room ambience. For the Steinway pianos we used an AB configuration with the mics positioned 30 feet apart, roughly 15 feet away from the piano. For the Yamaha piano we used a stereo mic with a "Blumlein configuration", meaning two crossed figure of 8 capsules angled at 90 from eachother. Yamaha C7: AKG C24 (vintage tube mics) Blumlein configuration *** Steinway D/K: Neumann M250 (vintage tube mics) AB configuration** API 312 preamp REASON PIANOS MANUAL 5 Split points The bass strings are made of a steel core with copper wound onto it, the very lowest notes being single strings while the higher bass notes have two or three strings. The treble strings are made of plain steel and arranged in threes (tri- chord), and the top 14 to 18 notes have no dampers. The illustration below shows how the three pianos we sampled are configured. The dotted keys indi- cate the sampled notes. The studios The Steinway D and K pianos were recorded in Studio 5 at Sveriges Radio, Sweden's public service radio. In the early 1960s, SR built a number of large studios to accommodate orchestras and big bands, for recording and live broad- casts. The smallest, Studio 5, is known for its warm and pleasant acoustics and soon became a favorite for chamber orchestra and jazz ensemble performances. The Yamaha C7 grand piano was recorded at NordHansen Studio (formerly known as Europa Studio), one of Sweden's oldest and most renowned studios where artists like Bob Marley, Quincy Jones, Errol Garner, Sivuca, Refugee All Stars and Jojje Wadenius have recorded music. Steinway K pright Yamaha C7 Copper wound Steel (trichord) One Two ndamped Copper wound Steel (trichord) One Two ndamped Steinway Grand D Copper wound Steel (trichord) One Two Three ndamped REASON PIANOS MANUAL 6 Hypersampling Multisampling is the industry standard for digital representation of acoustic and analog instruments. While the method has been refined somewhat over the years, multisampling still has a few shortcomings: 1. The dynamic resolution is too low, failing to capture the subtle nuances between the steps. Reason Pianos use 4 velocity levels and 25 sampling points across the keyboard. 2. Typically, a single microphone (or a merged signal from multiple micro- phones) is used, leaving the recording distance, ambience and character set in stone. The Reason Pianos samples were captured through ten different microphones (4 stereo + 2 mono), giving the end user complete control over all aspects of the sound relating to microphone place- ment and signal mix. 3. The strive for manageability and RAM efficiency often results in the omis- sion of certain subtleties, for example the sounds made when strings or keys are released. This negatively influences the realism of the multisam- pled instrument. Reason Pianos incorporate hammer noise and release resonance samples, thus mimicking real pianos all the way from keystroke through key release. We call this hypersampling. We like to think of it as multi-dimensional sampling, because it gives you complete control over many aspects of instrument repro- duction that are normally off limits to the end user. What is Hypersampling? D Multiple velocity levels Capturing the full dynamic range of the instrument D Multiple microphones Capturing and controlling distance, ambience and character D Multiple variation sampling Capturing the different techniques, grips and playing styles associated with the instrument REASON PIANOS MANUAL 7 Using Reason Pianos Reason Pianos offers a wide range of entry points in order to accommodate for different needs. Here follows a summary of the ReFill contents: Piano Patches Inside this folder you'll find five subfolders. Four of them contain Combinator patches - Preset, Producer, Style and Template patches. The fifth folder, Sepa- rate Mics, contains the NN-XT patches which the Combinator patches are built from. D Preset Pianos The basic Combinator piano patches, offering our favorite microphone com- binations. D Producer Pianos Custom Combinator patches designed by professional music producers. Some of these patches are quite large and feature elaborate configurations with lots of effects, EQ etc. D Style Pianos The Style Pianos are inspired by the piano sounds on classic songs, as indi- cated by the patch titles. D Template Patches Various Combinator templates where no NN-XT sampler patches are loaded, the idea being that you can fill these with the mic combinations of your choice. There is also a Combinator template designed especially for use with ReWire. D Separate Mics These NN-XT patches make up the building blocks for the Preset, Producer and Style Pianos. Each of the three sampled pianos have six different NN-XT patches, one for each microphone spot. You can use these patches to build your own combinations (optionally using a Template patch as the starting point) or to add a mic to an existing Combi preset. Reverb Patches A number of RV7000 reverb patches tailor made for acoustic pianos. RPi ReWire Template.rns A template song for use with ReWire. Here, the output of each microphone goes to a separate output in the Reason Hardware Interface, allowing you to mix the sound completely in the ReWire host application. RPi Samples The source samples. The Combinator panel The Preset Pianos are all based on a principle patch, a uniform Combinator setup comprising of six NN-XT samplers (one for each mono microphone or ste- reo mic pair), seven 6:2 mixers (one main mixer and six submixers, one for each NN-XT), an MClass Compressor and an MClass Equalizer. The purpose of having one submixer for each NN-XT is to separate the different piano sound components (release resonance and hammer noise) on individual channels. D Rotary 1 - Release resonance level Controls the overall level of release resonance, i.e. the slight string and soundboard resonance remaining after a key is released and the damper has returned to its original position. D Rotary 2 - Hammer noise level Controls the overall level of the hammer noise. When a piano key is released, the return action of the hammer generates a slight noise. We captured the hammer noise and included it as separate samples. D Rotary 3 - Presence amount The presence effect enhances the "presence" of the sound by boosting cer- tain frequencies in the 5000 Hz neighbourhood (the exact frequency varies slightly between the instruments). D Rotary 4 - Compression amount Controls the compression ratio and threshold. D Button 1 - Release resonance on/off Enables/disables the release resonance. D Button 2 - Hammer noise on/off Enables/disables the hammer noise. D Button 3 - Lo cut on/off Cuts frequencies up to 100 Hz (varies slightly depending on instrument). Use the low cut to make room for bass instruments in the mix. D Button 4 - Compression on/off Toggles the compressor between on and bypass mode. REASON PIANOS MANUAL 8 ReFill Folder Index A complete overview of the folder structure. Individual patches and samples are not listed, only the folder/subfolder tree and Reason song files. ! D indicates a folder/subfolder. Reason Pianos D-Piano Patches D -Preset Pianos D-Steinway D Grand D-Steinway K Upright D-Yamaha C7 Grand DRPi Light Versions D -Producer Pianos D -Style Pianos D -Template Patches D Separate Mics (NN-XT) D-Steinway D Grand D-Steinway K Upright D-Yamaha C7 Grand DLight Versions D-Reverb Patches DRPi ReWire Template.rns DRPi Samples D -Steinway D D -Steinway K D -Yamaha C7 Credits & Thanks This ReFill was developed and produced by Propellerhead Software. The Steinway pianos were recorded at Studio 5, Sveriges Radio, Stockholm, Sweden. The Yamaha grand piano was recorded at NordHansen Studio, Stockholm, Sweden. Producer and Project Manager: Kristoffer Wallman Recording engineer: Niklas Flyckt Sampling engineer: Per Larsson, SampleTekk, Sweden Piano tuning: Mats Ferner and Carl Wahren Sample editing: Per Larsson, SampleTekk, Sweden Additional editing: Attila Cederbygd Programming: Peter Grnvall Additional Patch Programming: Robert Qwarforth Jesper Nordenstrm Ian Duncan Simon Price Bjrn Yttling Chris Griffin Gran Elmquist Dave Darlington Erik Jansson Pontus Winnberg James Bernard