Convology XT Plates Demo Piano - Impulse Record

17 different Plates - 185 Files - 331 megs. Sampled in 7 Different Countries including: Australia, Austria, Finland, Sweden, Switzerland, Slovenia, USA (8) German 140s that include Mono, Mono Tube, Valve, Transistor and ST models Many pieces of gear listed have been used on major recording artists, albums and Grammy productions. Full Listing of Plates: Aud (Audicon “The Plate II”) Memphis, TN Brick – Chicago, IL EPlate I (ECOPLATETM - trademark of Studio Technologies, Inc) Chicago, IL Eplate II - Appleton, WI Eplate III - Sweden German 140 Mono - Nashville, TN German 140 Mono Tube - Nashville, TN German 140 Valve - Slovenia German 140 ST - Cleveland, OH German 140 ST - Australia German 140 ST - Portland, OR German 140 T - Los Angeles, CA German 140 T - Finland German 240 (Gold Foil) Los Angeles, CA German 240 (Gold Foil) San Francisco, CA Lawson - Nashville, TN Stock (Stocktronics) Finland. General Overview Every plate varies according to how it’s been tuned, so there are virtually no two plates exactly alike, even when made by the same company and then given years of use and in some cases “stored” and/or reconditioned and re-tuned. In addition, the condition of drivers, pickups, the addition of upgrades made to a plate unit, along with the audio paths to and from each piece of gear, can and obviously do play a heavy roll in final sound and impulse response capture. Physical Plate Overviews These overviews are general and with EQing almost any plate finds its use and purpose. It’s also important to note that many engineers, back in the day, used delays before entering the plate, to either give it pre-delay, in its truest sense, or for different spacial environments and different room reverb feel. Because many of today’s engineers are more accustomed, to dialing in reverb, without much need for tweaking, beyond dry, wet signals and minimal EQing, there are numerous files that have been pre EQd to sound like a given space, along with hybrid versions where early reflections (usually up to 100ms where your ears tell you, “That’s a big bright space and I hear the instrument coming from stage left,” etc) have been employed. What Files Are Included With the physical plates, the truest and most accurate representation of the plates have been sampled. This was a massive project with engineers and studios literally from around the globe. Knowing the potential of the project, moving forward with studios who were well regarded, achieving a great deal of success in the industry, recording some of the biggest names, was very important for a number of reasons. Firstly, they know their gear, it’s behaviors and what works best. Secondly, the gear had been used on numerous Grammy nominated and winning productions. Lastly, knowing that time was a commodity, studios and engineers were given specific criteria in regards to how to best implement the library goals with a high standard of impulse response capture and could deliver under that criteria. Because time was critical, the “sweet” spots of each plate was recorded. In simple terms, for some plates, because dampers were working “somewhat” but still had a beautiful sound, there were only a handful of samples and impulse captures that took place and for others, a good number more samples were captured with a wide array of impulse response files. One could argue the difference in the files of a 2.5 second sample over a second sample, but the reality, even for most award winning engineers, is that between software adjustments alone, time could be conserved and with some vintage gear, trying to push outside parameters of decay change, could only be effected so much.