Decca Tail: Schoeps cmc62S—omni-directionals with high-frequency boost This pair of microphones is also positioned to capture the sound of the piano in the hall as heard by an audience member. The position at the tail of the piano, about eight feet back, recreates a diffuse but slightly narrower stereo image than the pairs described above. It also captures the contribution of the room and some floor-reflections, while avoiding reflections from the open lid. The use of omnidirectional microphones also recreates a more linear low-frequency response. There is less direct sound from the strings, hammers and harp. Because of this, this position can sound “darker” than the positions described above. This microphone position was famously used by the engineers at the Decca records company and is widely used in classical repertoire to this day. 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)
.

This dataset is too large to download directly from this item page. You can access and download the data via Globus (See "https://www.youtube.com/watch?v=uf2c7Y1fiFs" for instructions on how to use Globus).