realsamples German Spinet 1767 HAlion Sample Library Instructions
- June 12, 2024
- realsamples
Table of Contents
German Spinet 1767
Johann Heinrich Silbermann, Straßburg, Inv.-Nr. MINe 90
Edition Germanisches Nationalmuseum
Klavierhistorische Sammlung Neupert
Silbermann spinet 1767 (photo by Günther Kühnel; © Germanisches Nationalmuseum)
Thank you for purchasing the German Spinet 1767 HAlion sample library.
Installation
For proper installation of your new HALion library, please see instructions on
the Steinberg website or watch the „How to install“-HALion instruments video.
For questions regarding installation or registration of HALion instruments,
please contact Steinberg. Concerning the instrument itself, please contact
realsamples at info@realsamples.de
The instrument
Your new German Spinet 1767 library features one of the few preserved original German spinets; a beautiful sounding instrument by Johann Heinrich Silbermann. The instrument was built in Strasbourg in 1767 and features a bell-like treble response with clear impulse response and a full-bodied sound. Residing at the Germanische Nationalmuseum in Nuremberg, the harpsichord remains in great playable condition.
The sampling
In former centuries, the standard pitch was much lower than today’s 440 Hz,
and the instruments were constructed accordingly: The spinet was sampled at
413 Hz. The pitch can be adjusted in the virtual instrument. Like all spinets
(and harpsichords), the Silbermann instrument is not touch-sensitive like a
piano: Pressing a key down ejects a pick which plucks the strings, always at
the same volume. However, each picking sounds slightly different due to
resonances of both strings and body. Early digital versions of spinets often
relied on just one sample. This becomes tricky when repeatedly playing a key
or even playing trills. Hearing the exact same sample played leads to the so-
called “machine gun”-effect – a dreaded flaw of early digital which is quickly
exposed by the listener as “artificial” sounding.
While sampling each note separately, we also sampled eight variations per
note. The HAlion library is programmed in “round robin” mode – no sample is
repeated immediately. This helps supporting the idea of a “real” instrument.
Furthermore, the sounds of the key release (and the picks moving back) are
important to complete the picture. If left out, the instrument may sound
strangely abstract. Therefore, we recorded four key release samples per note.
The instrument was recorded on location in the great sounding “Aufseß-Saal” of
the Germanische Nationalmuseum, using a specialised signal chain including
custommade microphones. It was originally captured at 192 kHz/24 bit and
resampled to 48 kHz.
The controls in detail
Decay – allows to adjust, well, the decay of the notes after the key is
released. Typically, a value around 500-1.000 milliseconds sounds most
natural.
If completely adjusted to the left, the control says “OFF”. In this setting,
the note-on-samples are turned off and you can hear the key release sounds
only.
Key release – allows to adjust the volume of the key release sounds. In the 12
o’clock position (0 dB), it is the original volume in the context of the key-
down samples. In the far-left position of the knob, the key release samples
will be turned off completely. Some users prefer to up the key release volume,
to emphasize the impression of a “real” instrument being played.
Pitch – allows to adjust the general pitch of the instrument. It was sampled
at 413 Hz originally. The default setting is 440 Hz
Temperament – allows to switch between modern termperament (“equal”) or
the historical “Valotti” which offers a “sweetened” tuning. It differs from
equal temperament by the following cent values: E = -2.0, F +7.8, F# -2.0, G
+3.9, G# +2.0, A 0, B 3.9, Bb +5.9, C +5.9, C# 0, D 2.0 Off/Front 8’ Stop –
you guessed it – it switches the front 8’ stop of the instrument. In the left
position (“OFF”), it is, frankly, off. Off/Rear 8’ Stop – the same goes for
the rear 8’ stop here. If you want to combine both stops, just switch them
both on, and a separate set of samples is used which captured both switches in
conjunction. If both stops are in the “OFF” position, you can hear just the
key release noises (in case their volume is on). Master FX – beneath the
“Germanisches Nationalmuseum” logo, you’ll find a Master FX switch, in case
you would like to use HAlion’s EQ or reverb on the harpsichord.
The EQ contains four adjustable bands and can be switched out of the circuit
by clicking the power button off (no light).
The “Width” control in the middle allows you to reduce the stereo image of the
instrument, if necessary. On the right side, the reverb allows for the
settings Chamber, Studio and Hall. “Size” sets the room size, “Width” controls
the stereo width of the reverb. “PreDelay” delays the early reflections of the
reverb, “Delay” takes care of the complete signal (which may help creating an
echo effect). “Mix” blends the dry and wet signal of the reverb. The reverb
can be switched out of the circuit by clicking the power button off (no
light). May this virtual harpsichord bring you lots of enjoyment, inspiration
and – last, but not least – some great music!
Production Germanisches Nationalmuseum: Dr. Frank P. Bär
Instrument tuning: Georg Ott
Recording & production realsamples: Nicolay Ketterer
Consulting: Tobias Birkenbeil
GUI design: Verena Segert
HAlion instrument programming: Robin Mussmann
Florian Haack and Frank Seidel at Steinberg – thank you for your help!
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