HARPSICHORD
With its full sound, charismatic and distinctive timbre the Harpsichod W j2 M D T Z drd has bn ) n D , B 5 ~ )een a backbone o6 I ? B ,f many com\ k qposers’ wy @ : )orks ever since the Baroque era, sp. ? U WaS Z n ( ] r 0nning all the way up to the& T – , s S R modern cinematicN m a ] X ? music. Driven bp ! – h Dy the desireQ \ D , 0 to capturq + ( e F s w h me every single tone col% 7Q 9 [ P N T Z g n s ~ B } M Nor of this amazing[ y X in? = P d &al , mmp; M E g }strC ,b K K . 9 % h X J ( 0 n zument in d( ~ A s D Xetail, we e6 j ? v _ I ^ Nmbarked on the journey of recording and creating an; S # easily playable instrument, while sti* 8 8 , P S tll preserv– } ] @ing its character and its unique “v5 } ? ? .oice”.

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The harpsicm e . _ E H 6 Rhord was meticulously tuned and prepared by our engineers in order to give out a clear, evs G ) P K 8 Den tone for all registers. The instrument consists of thr~ R wee registers, or T = * N = h s1 y R X ` e ^ _ {r in other words –! E W l 3 different setsm % ; Z j A _ of strings recorded here – twk n G n . m s Io a= x \ Vt 8 feet long anu . hd one at 4 feet long thar ( B :t sound an octave above th1 L ( ; p He others. We’ve alk – . q h 3 H Rso captured the “buff”, also known as lute stop: soft leathl O c N n U G K Ner pr{ B 9 ?essed against the strings, for a sli} ? z T S X )ghtly mt + ; Q c S | +ore muted tone; $ }.

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We haX K r D X l # QvB D u E 8e aD h ^ 2 rls/ N t . \ e [ &o recorded a true combination between the three registers (8’ + 8’ + 4’) and you have the software possibility to combine them differe8 ~ 8 _ 3 Ently yours@ W o { + c ( Self.

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Choosing different registers6 2 I I and parameter combinations (mic adju! D n { A dstments, etc) can vash B Itly change the tone of the inst& z u Q ] Q y V* a e D 5 1 hrument and perceived playing space, which is pe? H x Xrfect for any mixing siC A \ z ; = u +I . B ( | – 5tuation where the haF6 \ V & A \ 3 | F o y ` S ) W \rpsichord can be adjusted proO v , jperly, without compromisi~ o H $ `ng the true sound of the instrument.# m ? 2 p K r g All the di\ R !fferent register combinations are also available as key switches placed close to the bottom of the keyboar= 0 –d, so that the register combination could be edi( u ; , { Fted with a single key.

 

You cO b 1 San opte [ D } 4 k y k # to turn the release sample set on and off with this togglJ { 6 # j I 9 qex 0 ~ , 1 [ @ V ] switch. There’A 8 B 9 D Z Vs also a choice for you between mode_ * ~rn tuning at 440Hz, and aL L j 9 \ 9 F Q mo! N + = B Vre traditional baroque t1 A V C ZuF ! + 5 n nning at 415Hz. As wk _ | f \ o Kith any otheq s . A ^ br ok z N B b ] h pf our libraries, you have the opportunity to reset the round-robins of any instrumV j % % e V vent using th@ 1 % * pe RESET RR with the keyswitch located ao e W 6 #t C1.B i k F X R

 

The content of the library was recorded in theO u b c 8 8 Sofia Session Stuy 7 z * , [ 3dio~ 7 : = with a variety of microphones used in many differ$ x O 9 Lent positions. T/ R = d ^hese have later/ 5 8 ~ = $ been summe{ $ j ( Od up to 4 useful variations:CM g J ! / B % Llose, Mid, Decca and Hall.For all 4 of those, you have the option to Purge (the ON/OFF button on top o. ] m i = \ } X !f the volume slider), Solo or Mu} [ 6 !te. In addition# U : u + M b 9, you$ t B c 2 can adY k . djI ( O 7 Z q W zusE H { n c 5 l p 4t the volume, the stereo width, ande ~o | C F t z 1 h w r { j ^ ? you can designate di– [ O Lfferent outputs for each microphone positK| y A 7 * U G [ 5 ^ Q ! Fion if needZ m W ] red.

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