Stage Lid Omni: Schoeps cmc62—omni-directionals This pair is placed centrally (audience perspective) at about six and a half feet high and is aimed parallel to the open lid of the piano (flanking, and at the same height as the Sankens listed above). They are spaced about a meter apart and capture a slightly more diffuse stereo image of the harp. Since they are omnidirectional, they also capture a bit of the room. These can be blended with the Sanken CU41s to add or subtract some bass response and/or room sound. File Naming Convention: C4 = middle C
. Main note names: [note name][octave]v[velocity].wav
 -- e.g., “D#5v13.wav”
. Release resonance notes: harm[note name][octave]v[velocity].wav
 -- e.g., “harmC2v2.wav”
. Hammer samples:
 rel[1-88].wav (one per key)
 -- e.g., “rel23.wav”
. Pedal samples:
 pedal[D/U][velocity].wav
 -- e.g., “pedalU2.wav” => pedal release (U = up), velocity = 2 (quicker release than velocity = 1)
. The bitKlavier Grand consists of sample collections of a new Steinway D grand piano from nine different stereo mic images, with: 16 velocity layers, at every minor 3rd (starting at A0); Hammer release samples; Release resonance samples; Pedal samples. Release packages at 96k/24bit, 88.2k/24bit, 48k/24bit, 44.1k/16bit are available for various applications.