@David-Healey I was really over complicating it in my head by trying to manage separate sampler modules I’m heading over to your channel right now to find those multi-mic tutorials. Thanks a ton for pointing me in the right direction.

Hi everyone!

I’ve been silently reading and learning a lot from this amazing community for a while. Now, I’ve finally gathered the courage to start my first serious commercial project: Petrof Piano (I haven't come up with a name yet :/).

I wanted to share my development journey with you all, rather than just waiting until the finish line.

Instead of going the physical modeling route, I am building a heavily sample based, grand piano based on a Petrof. For close mic recording, I use 2X Neumann KM184 Cardioid Condenser. For preamp I use SSL AWS 900+

Current Progress:

• Main Audio Engine: Ready and fully functional.
• Close Microphone: Fully mapped and completed with 6 Velocity Layers (from delicate pp to aggressive ff) to capture the true dynamic range and timbre shift of the wood. (Room and Far mics are in the works).

Systems Already Implemented (as seen in the WIP GUI):

• Tone Shaping (Dark/Bright & Tonal Shift)
• Perspective & Space (Lid Position & Player/Audience controls)
• Envelope & Dynamics (Attack, Release, Dynamic response)
• Resonance Engine
• Dedicated Reverb Module (Scoring Stage, etc. with Dry/Wet)
• Pitch Control (Transpose)
• Full Pedal Support (UnaCorda, Sostenuto, Sustain)
  -Chord analyzer (extra)

What's Next:
The only major thing left to implement is the Mechanical Sounds layer (key release, pedal action, wood creaks) to make the instrument feel 100% organic.

If you'd like to hear how it sounds, I'm leaving an unlisted YouTube link below. It's just a quick
https://youtu.be/VHhs1g4Cwcs

Since this is my first time handling such a massive sample pool (6 velocity layers across 88 keys with 3 mics + upcoming mechanical layers), I have a question for the veterans here:

Do you have any golden rules or specific settings in HISE for RAM optimization and voice management when dealing with very large, multi-mic sample maps? I want to make sure my foundation is absolutely bulletproof before I map the remaining microphones.

I will keep updating this thread as the beast comes alive. Cheers!

@David-Healey Thanks for the video, checking it out today. It’s actually a huge relief to hear that even you are still tweaking your workflow after all this time. Gives me hope that I won’t be stuck in this mapping hell forever. Even if your process has changed since then, I’m sure there are some solid tricks in there for me. Thank you so much :)

@David-Healey I was really over complicating it in my head by trying to manage separate sampler modules I’m heading over to your channel right now to find those multi-mic tutorials. Thanks a ton for pointing me in the right direction.

@David-Healey exactly. Babysitting those delicate pp decays and transients takes forever... I actually watched your all videos in bootcamp and tried to apply those techniques here but the sheer volume of 88 keys makes it a different beast.

To be honest, I haven’t tried the multi-mic feature yet. My current plan was just opening separate Sampler modules for Room and Far mics which is exactly why I was so worried about the RAM and voice count!.

If HISE can handle all 3 mics inside a single Sampler, that would be a total lifesaver. Do I need to combine my mics into multi-channel files in my DAW first or can HISE link the separate stereo files internally?

@David-Healey Thank you so much, Haha, exactly. Definitely losing some hair over here

Regarding the mics, they were recorded at the exact same time (I wouldn't risk phase issues). It’s just that manually editing, denoising and mapping thousands of individual notes takes forever... maybe months and months... :(

I just wanted to map the Close mic first to ensure the core engine and UI are working perfectly before I dive into slicing the rest of the audio files.

Hi everyone!

I’ve been silently reading and learning a lot from this amazing community for a while. Now, I’ve finally gathered the courage to start my first serious commercial project: Petrof Piano (I haven't come up with a name yet :/).

I wanted to share my development journey with you all, rather than just waiting until the finish line.

Instead of going the physical modeling route, I am building a heavily sample based, grand piano based on a Petrof. For close mic recording, I use 2X Neumann KM184 Cardioid Condenser. For preamp I use SSL AWS 900+

Current Progress:

• Main Audio Engine: Ready and fully functional.
• Close Microphone: Fully mapped and completed with 6 Velocity Layers (from delicate pp to aggressive ff) to capture the true dynamic range and timbre shift of the wood. (Room and Far mics are in the works).

Systems Already Implemented (as seen in the WIP GUI):

• Tone Shaping (Dark/Bright & Tonal Shift)
• Perspective & Space (Lid Position & Player/Audience controls)
• Envelope & Dynamics (Attack, Release, Dynamic response)
• Resonance Engine
• Dedicated Reverb Module (Scoring Stage, etc. with Dry/Wet)
• Pitch Control (Transpose)
• Full Pedal Support (UnaCorda, Sostenuto, Sustain)
  -Chord analyzer (extra)

What's Next:
The only major thing left to implement is the Mechanical Sounds layer (key release, pedal action, wood creaks) to make the instrument feel 100% organic.

If you'd like to hear how it sounds, I'm leaving an unlisted YouTube link below. It's just a quick
https://youtu.be/VHhs1g4Cwcs

Since this is my first time handling such a massive sample pool (6 velocity layers across 88 keys with 3 mics + upcoming mechanical layers), I have a question for the veterans here:

Do you have any golden rules or specific settings in HISE for RAM optimization and voice management when dealing with very large, multi-mic sample maps? I want to make sure my foundation is absolutely bulletproof before I map the remaining microphones.

I will keep updating this thread as the beast comes alive. Cheers!