Importing Samples in Kontakt

There are several ways to load the sample into Kontakt, we can either drag and drop the sample into the Kontakt's mapping editor or simply just import it. Since Kontakt has a very clever automap feature that allow the user to load samples easily and automatically without any problem. It is advisable that naming the sample file properly before importing into Kontakt. If it is not label the way Kontakt ask then it will never know therefore simply can't not be automaped. Base on my experience some how the Kontakt does not like lots of samples loading in the same time. I would suggest to do it sensible way may be do it octave by octave in this way we can double check it is in the right key or place. If we named the sample properly during the editing, now this will make our life more easy. To automap just select the sample that you want to automap then right click in that then go to automap set up and let the Kontakt know which sample is for what then the Kontakt will do the rest.

Editing Piano Samples

There are many way to cut the sample like using Protools, Logic, Adobe Soundbooth, Kontakt and many more. But before we start doing the editing we should plan or organize the sample otherwise it can easily mass up since the sample set is too big and too many key. It is advisable that name the file properly so later on we can easily import into Kontakt and using the auto map to map our sample and that will save a lot of time. To cut the sample, faster and easily way is to use the beat detective in protools and that will automatically fine the transient of the piano sample and then we just need to adjust  a bit and name the region. Or cut the sample into set and import into Kontakt then use the wave editor. Within the wave editor there is a section call the Sync/Slice that allow you assign the sample directly into the mapping editor which is very fast. When we cut the sample it is necessary to cut where the sample starting point otherwise there will be delay and also need to be very careful with the zero crossing otherwise it will sound click or pop. If this does happen then we need to do the fade in and fade out in the wave editor. And also bear in mind that can do a lot of staff in wave editor such looping, slicing and many more which allow us to manipulate our sample in wave editor.

                                                   Figure 1: Wave editor in Kontakt

                                                                                                                                                                                   Figure 2: Editing Sample in Protools

Recording Piano Sample

In the figure, we use X/Y stereo technique to capture the Bass and treble by using the AKG414 which aimed at the each side of the piano then focus on the hammer. And then place another X/Y stereo mics to capture the whole piano body sound. The good thing about X/Y stereo technique is that you don't have to worry about the phase issue and it's quite popular for recording a piano as well. Set up another mic for ambient and when we combine them and listening in the control room it sounded very good. Because of the time constraint only had a chance to record four different velocity. The plan was to record the piano lip open and close as well as the pedals noise but it didn't happen. So, the plan now is to learn the scripting so that will give some manipulation and some effects hopefully.

Research On Piano Sample Instrument

Some of the consideration that definitely need to take into account things like sample rate and bit depth, looping. spatial relations, number of notes that needed to be sampled, sampling dynamics, sampling others effects, polyphony, the pedals sound and effects (reverb). All this steps can not be avoided in order to build a nice sound and realistic piano sample instrument.

Sample rate and bit depth

Many decisions need to be made for recording piano sample and most important one could be the sample rate and bit depth. Since the sample rate is the number of time that the original sound is sampled per second so the sample rate of 44.1 kHz mean that 44100 Hz per second were recorded. If  the sample rate is too low the distortion know as aliasing will occur and will be audible when convert it back to analogue. The bit depth used to describe the number of bit that available in a byte. More bit depth mean better quality but bigger file size. So, for this project I used 24 bit and 96 kHz for recording and bounced with 44.1 kHz to reduced the file size and maintain the audio quality.  

Looping

Many sample instrument builder used a lot of this techniques in order to reduce the file size since the samples set for the instrument can be big so by using this techniques will reduce the file size. Looping is the technique that selecting a short duration of the sound that remain unchanged over a period of time, and repeating it over and over the volume level is reduced. According to what  CRAIG ANDERTON said from Sound on Sound:  

- "Pianos are percussive instruments, with envelopes that decay over time. As a result, unlike a wind instrument or organ, there's no steady-state, constant-amplitude portion of the signal that would allow for a long forward or crossfade loop.

-The envelopes take a long time to decay. Therefore, unless you have humongous amounts of internal memory, you will not be able to fit several samples with natural decays into a sampler, thus making looping a necessity.

-Given all this, it seems that grabbing a single-cycle loop as close to the end of the waveform as possible would give the best results.  

 Spatial Relations

Since the acoustic piano have the bass end and the treble end it is essential to preserve this spatial relationship by using the stereo recording techniques.

Number of notes sampled

It is necessary to decide number of notes to be sampled since the piano has 88 keys and in my case I sampled all of them. By using Kontakt not really necessary to sample all key but does not sounding realistic.

Sampling Dynamics

In Kontakt, it is allowed by using just one layer of velocity but it's sound unrealistic. Therefore, it is important to record three to five set of dynamics so the more velocity layer we have the more the piano instrument will sound real.

Sampling others effects

Most sample piano instrument has additional types of samples aimed at capturing more of the nuance of an acoustic piano, things like string resonance and damper effect. String resonance is related to the strings' overtones. Each of the overtones generated by a vibrating string are at, or close to, the fundamental frequencies of higher notes whose frequencies bear a mathematical relationship to the one played. This results in a weak sympathetic or resonant vibration of the strings of the related notes, and adds another dimension to the sound. Damper-effect samples are triggered by releasing a key, and add another subtle dimension to the piano sample instrument sound. For this project, due to the time constraint of the studio and also to save some token for other project we could not simply record this kind of effects but being said that we can still get this kind of effects from Kontakt and this it where the script come in to rescue and will discuss this later.

The Pedals

Since acoustic piano has three pedals and it is necessary to record the sample sound for the pedals effects. But in my case, I am going to use just one set of sample sound then using the Kontakt to manipulate the effects by using the script.

Effects

In order to make the sound rich and realistic it is necessary to create some effects for the piano instrument and the most popular one is the reverb. Since Kontakt already has the convolution reverb so we just have to script it.

Above all, top branded piano sample like Garritan Steinway and Quantum Leap piano they all have some command articulation such as Lip position, mic position, stereo spread, velocity curve, sustain pedal and convolution reverb. With all these the user can simulate the effect of the real acoustic piano and make the instrument more realistic. For example: the stereo spread effect can make the stereo image wider, the velocity curve allow the user to alter the shape of the velocity range so the high and low velocity can be adjusted within the range. The convolution reverb let the user select the reverberation of the room with the impulses recorded.

                                    Figure 1: Garritan Steinway Piano Samples Instrumen

                                       Figure 2: Quantum Leap Piano Samples Instrument

                          Figure 3: EastWest's Studio Recording the Quantum Leap Piano Samples

Introduction

The objective for this project is to create a piano samples instrument using Kontakt sampler as well as protools. And here, we need to bear in mind that no matter how hard we try, we simply can't achieve the instrument sound like a real acoustic piano. Try sample the piano instrument can sometime be intimidated since the piano generates wide frequency range starting around 26 Hz and extending beyond 20 kHz of audio spectrum. To be able to achieve the objective and create a very simple sounding piano instrument, a lot of researches and planning needed to accomplish the task. Things like recording techniques, microphone type, editing process and instrument interface design all are very important for this project. So, the first step is to start with booking studio and then do the research and recording the piano.