MODARTT presents PIANOTEQ 6
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Welcome
Congratulations on your purchase of Pianoteq – the starting point of a Congratulations new generation of pianos, developed from mathematical research made at the Institute of Mathematics of Toulouse at INSA Toulouse, rance, and offering uni!ue possi"ilities to ma#e the piano "ehave and sound $ust the way you li#e%
or support issues and latest news a"out our products, please visit ourr we" ou e"si site te at www%pianote!%com www%pianote!%com%% If you have any !uestions or comment, let us #now% &e always listen to our customers%
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Contents 1 Introduction.................................................................................................................7 1.1 The fourth generation of pianos..........................................................................................7 1.2 What makes Pianoteq outstanding......................................................................................8 1.3 Pianoteq versions................................................................................................................9 1.4 Features in short................................................................................................................1
2 Installing and starting Pianoteq.................................................................................11 2.1 !nsta""ation for Windo#s...................................................................................................11 2.2 !nsta""ation for $a% &' (...................................................................................................12 2.3 )sing Pianoteq standa"one................................................................................................12 2.4 )sing the *'T+*'T3 *'T+*'T3+,)+,,( +,)+,,( p"ug-in.................................................................................12 2. /ard#are requirements....................................................................................................12 2.0 ,dapt Pianoteq to our hard#are.....................................................................................12 2.7 ui%k" "oading fp ptq and $!5! fi"es..............................................................................13 2.8 $!5! fi"e p"aer 6standa"one version.................................................................................13 2.8.1 Playback speed.................................................................................................................................14 2.8.2 Record and Save your performance.................................................................................................14 2.8.3 Brilliant performance lost?...............................................................................................................14 2.8.4 Step by step in your !"! file...........................................................................................................1#
2.9 !nterfa%e magnifi%ation......................................................................................................1
3 Overview, instruments...............................................................................................16 3.1 !nstruments.......................................................................................................................17 3.1.1 $coustic pianos pianos and predecessors...................................................................................... predecessors............................................................................................... .............1% ....1% 3.1.2 &!'iR collection................................................................................................................................. collection................................................................................................................................. 1( 3.1.3 &eyboard ran)e................................................................................................................................1( 3.1.4 *arp..................................................................................................................................................2+ 3.1.# ,lectric pianos...................................................................................................................................21 pianos...................................................................................................................................21 3.1.- *oner /ollecti /ollection............................................................................................. on.............................................................................................................................22 ................................22 3.1.% 'ibrapones 'ibrapones................................................................................................................. ......................................................................................................................................22 .....................22 3.1.8 0ylopone and arimba.................................................................................................................. arimba.................................................................................................................. 22 3.1.( oy piano /elesta and lockenspiel.............................................................................................. lockenspiel...............................................................................................22 .22 3.1.1+ Steelpans........................................................................................................................................22 3.1.11 ter instruments........................................................................................................................ instruments..........................................................................................................................23 ..23
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3.2 $anaging instruments and presets...................................................................................23 3.2.1 "ifference bet5een 6instrument7 and 6preset7..............................................................................24 3.2.2 !nstrument modifications................................................................................................................. modifications................................................................................................................. 24
3.3 /ints..................................................................................................................................24 3.3.1 /reatin) your o5n instrument........................................................................................................ instrument.........................................................................................................24 .24 3.3.2 Brilliance........................................................................................................................................... Brilliance........................................................................................................................................... 2# 3.3.3 sin) reverberat reverberation................................................................................ ion..........................................................................................................................2# ..........................................2#
3.4 enera" %ommands............................................................................................................2 3.4.1 Playin) 5it te parameters............................................................................................................2# 3.4.2 ana)in) and sortin) presets......................................................................................................... presets..........................................................................................................2.23.4.3 $ssi)nin) a parameter to a !"! controller..................................................................................... controller..................................................................................... 28 3.4.4 !nstrument controls............... controls..........................................................................................................................2( ...........................................................................................................2(
4 Tuning panel..............................................................................................................31 4.1 5iapason............................................................................................................................31 4.2 Temperament....................................................................................................................31 4.3 )nison tuning....................................................................................................................32 4.4 &%tave stret%hing...............................................................................................................33 4. 5ire%t sound duration........................................................................................................34
!oicing panel "acoustic#.............................................................................................3 .1 /ammer hardness.............................................................................................................3 .2 'pe%trum profi"e................................................................................................................3 .3 /ammer noise...................................................................................................................30 .4 'trike point........................................................................................................................30 . 'oft peda"..........................................................................................................................30
6 !oicing panel "electro$acoustic#..................................................................................37 0.1 Pi%kup smmetr...............................................................................................................37 0.2 Pi%kup distan%e..................................................................................................................37
7 !oicing panel "clavinet#..............................................................................................3% % &esign panel "acoustic#..............................................................................................3' 8.1 'oundoard.......................................................................................................................39 8.2 'tring "ength......................................................................................................................39 8.3 'mpatheti% resonan%e.....................................................................................................4 8.4 5up"e s%a"e.......................................................................................................................4
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8. :"ooming...........................................................................................................................4
' &esign panel "electro$acoustic#...................................................................................41 1( !elocit) panel..........................................................................................................42 11 Output panel............................................................................................................43 11.1 Peda"s..............................................................................................................................44 11.2 , sound radiation phsi%a" mode"....................................................................................40 11.3 'ound re%ording mode.....................................................................................................40 11.3.1 icropones and micropo micropones nes tecni9ues............................................... tecni9ues...................................................................................4% ....................................4% 11.3.2 i: table.........................................................................................................................................4( 11.3.3 /ompensation................................................................................................................................#+ 11.3.4 Stereo 5idt and sound speed.......................................................................................................#+ 11.3.# ;id position.....................................................................................................................................#+ 11.3.- Binaural mode................................................................................................................................#1 11.3.% $bout te micropones position....................................................................................................#1
12 *rom action to e++ects...............................................................................................2 12.1 ,%tion..............................................................................................................................2 12.2 $a""et oun%e..................................................................................................................2 12.3 ;qua"i
13 Practice....................................................................................................................7 13.1 Tutoria" 1> tuning.............................................................................................................7 13.2 Tutoria" 2> voi%ing............................................................................................................8 13.3 Tutoria" 3> soundoard design.........................................................................................9 13.4 Tutoria" 4> adapting Pianoteq to our keoard..............................................................0 13. Tutoria" > differen%e et#een spe%trum profi"e and equa"i
14 Pianoteq Pro............................................................................................................62 14.1 ?ote ;dit..........................................................................................................................02 14.2 'pe%trum profi"e..............................................................................................................03 14.2.1 ,:ample 1.......................................................................................................................................-4 14.2.2 ,:ample 2.......................................................................................................................................-# 14.2.3 ,:ample 3.......................................................................................................................................--
1 ppendi- temperaments construction.....................................................................67
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16 /pecial ac0nowledgements.......................................................................................6% 10.1 !nstrument providers.......................................................................................................08 10.2 =e%ording engineers........................................................................................................08
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1 Introduction 1%1 1% 1 Th The e fou fourt rth h gen gener erat atio ion n of of pia piano noss The first generation generation of pian pianos, os, starting in 1+- with Cristofori.s Cristofori.s pianoforte, came to maturity at the end of the /I/ century with the acoustic grand concert piano% It was followed in the // century "y electro0acoustic pianos, and then "y digital sampled pianos% Now, at the "eginning of the //I century, Pianoteq is the first instrument of the fourth generation of pianos, "ased on physical modelling and offering etraordinary playa"ility and epressiven epressiveness% ess% &ith Pianoteq, you can adapt the piano sound to your own taste% 2ni!ue parameters that model the "ehaviour of real pianos result in great realism, until now only to "e eperienced eperience d on real acoustic pianos% 2sing ('0"it internal computation, the calculated piano sound is free from !uanti3ation noise% noi se% True dyn dynami amicc tim tim"re "re results, results, fro from m the fai fainte ntest st pianissimo to the stronge strongest st fortissimo, for all 1'4 standard MI5I velocities 6and even more with high resolution MI5I7% 8verything that characteri3es a real piano is there9 the mechanical noises, the comple sound of pedals and strings in interaction, the percussive impact on staccato play 6short notes7, and of course, most importantly, the beauty of the piano sound % The second generation "rought innovative sounds 6such as the ender :hodes, &urlit3er, ;amaha ;am aha C<, and oth others ers7, 7, wh where ereas as the thi third rd gen genera eratio tion n onl onlyy rep reprod roduce uced d rec record orded ed sampl sam ples% es% =a =ased sed on an eff effect ective ive phy physic sical al mod model, el, Pianoteq allows you to ad$ust and stretch parameters, resulting in new sounds and performance styles% Pianoteq is "oth a way to emulate eisting pianos and an innovative tool for music creation% Pianoteq is in fact the first virtual piano fatory 9 it can produce new "rands as well as
copies of eisting instruments, from historical instruments such as harpsichords and pianofortes to contemporary grand pianos or the more recent electro0acoustic electro0acoustic pianos% are e re regu gula larl rlyy ad adde ded d to the Pianoteq Other instru!ents instru!ents of the idio idiophon phones es fa!il fa!ily y ar collection% >isit our we"site www%pianote!%com and discover our latest creations%
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1%' 1% ' &h &hat at ma ma#e #ess
It is th the e fi firs rstt of a ne new w ge gene nera rati tion on of pi pian anos os,, is issu sued ed fr from om an ou outs tstan tandi ding ng "rea#through technology "ased on physical modelling, which is foreseen as the technology of the future% Notes are really played 6?constructed@ in real0time, as on a real piano7, not $ust read from the dis# or the memory% This eplains why the sound is alive" not stati# it is not a si!ple reordin$" it is a $enuine instru!ent that responds to the pianist%s finest interpretation% It has "een developed in the prestigious Institute of Mathematics of Toulouse , at the Institut National des Sciences Sc iences Appliquées in Toulouse, rance% Two specialists from this la"oratory have "een wor#ing hard to create this "eautiful instrument% Concep Con ceptio tion n of the phy physic sical al mo model del is fro from m
5.s, since it only needs an up0to0date C<2 for computing all sounds in real time% It loads easily into :AM, and installation is instantaneous% No pro"lem using it on a modern laptop% It can handle ultra low latencies with good audio drivers on a recent C<2% It offers a "eautiful collection of stunningly alive instruments9 pianos, pianoforte, piano precursors such as cim"alom, clavichord and harpsichord, electro0acoustic and ele electr ctric ic pi piano anos, s, ch chrom romati aticc per percus cussio sions ns and oth other er ins instru trumen ments ts fro from m the idiophones family%
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music sician ianss wh who o wan wantt to plug it in and pla playy wi witho thout ut PIANOTEQ PIANO TEQ &TA'E is for mu
twea#ing the physical model% It includes standard features such as velocity curve, dynami dyn amics, cs, act action ion set settin tings, gs, 8E, tre tremol molo, o, wa wah0w h0wah, ah, cho chorus rus,, fla flange nger, r, pha phaser ser,, compressor and other effects% PIANOTEQ &TANDARD offers in addition powerful tools to twea# and adapt the physical model, as well as the positions of the microphon microphones% es% PIANOTEQ PRO goes even further% Its Note 8dit feature allows those who re!uire complete freedom in note shaping to edit the parameters note0"y0note%
All versions offer the same sound, instruments and playa"ility "ut differ in the range of features and settings% The ta"le "elow summari3es the main differences "etween the three versions% PIANOTEQ
PIANOTEQ
PIANOTEQ
&TA'E
&TANDARD
PRO
Includes two instrument pac#s F1G
HI>i: instruments 6free7
Audio effects
Microphoness setting Microphone
Boads eternal rever" impulses
Note 8dit 6note0"y0note editing7 F(G
Internal computation up to 1' #3
F1G Dptional instruments are sold separately and can "e loaded in any Pianoteq version% F'G In PIANOTEQ &TA'E, preset loading is limited to parameters that are present in the interface inter face%%
1%) eatures in short Pianoteq is e!uipped with all of the features you could dream of9 Continuou Conti nuouss velo velocity city from pianissimo to fortissimo, with progressive variation of
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the tim"re9 that ma#es at least 1'4 velocitiesJ A sample0"ased software program would re!uire hundreds of giga"ytes for all these velocities Comple resonances that only a model can reproduce in all its richness9 resonances of all strings, "oth without and with sustain pedal o Sympathetic resonances o 5uple scale 6the undamped string parts which come into resonance7 damping7 o 5amper position effect when #ey is released 6varia"le overtones damping7 o Dther specific effects li#e staccato and sound continuation when pressing down the sustain pedal a short time after #ey release 6re0pedalling7 6re0pedalling7 8tended #ey range to 1K* #eys for some grand pianos 6Steinway Model 5, H'7 Tim"re modification of repeated notes, due to the hammer stri#ing strings which are already in motion instead of "eing still
pressing down the sustain pedal stac acca cato to whil armo ar monic nic pedal, pedal, all allowi owing ng you to pla playy st while e main maintaini taining ng the
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sustain pedal resonance 6not availa"le on acoustic pianos7 Una corda pedal, also called the soft pedal, modifying the sound !uality
or timbre "y shifting the piano action to the right 6on grand pianos7 >aria"le lid position Natural instrument noises 6sampled or modelled7 including action #ey release noise, damper noise at #ey release 6"ass notes7 and sustain pedal noise9 pedal velocity dependent ?whoosh@ produced "y the dampers rising together from the strings or falling down Microphone positioning positioning and multichanne multichannell miing 6up to * mics, * channels7 Microtuning and scala format files import Hey"oard, pedal and note0off velocity settings Sound control via e!uali3er and 6volume7 dynamics =uilt0in convolution rever"eration, allowing you to import &A> impulses Standard Stand ard effec effects ts incl includin uding g dela delay, y, chor chorus, us, flan flanger, ger, phase phaser, r, tremo tremolo, lo, wah0w wah0wah, ah, amplifier and a compresso compressorr Drigin Dri ginal al ham hamme merr "ou "ounci ncing ng fea featur ture, e, in inter terest esting ing for chr chroma omatic tic per percu cussi ssions ons 6marim"a, ylophone, cim"alom cim"alomL7 L7 Instrument condition control, from freshly0tuned to completely worn0out%
If your piano supports a fine enough MI5I progression 6up to 1'4 values7 for the sustain pedal%
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' Ins Instal tallin ling g and and start starting ing ST, >ST(, Audio 2nits or
AA/ host st%% Pianoteq run runss in "o "oth th ('0 ('0"it "it and +)0"it +)0"it mod mode% e% &e rec recom ommen mend d vis visiti iting ng www%pianote!%com where you will find the latest information, a detailed AE page and a tutorial on how to connect your hardware%
'%1 In Inst stal alla lati tion on fo forr &in &indo dows ws 8ecute the installation program file pianote!setup%ee% Activation is re!uired when launc lau nchin hing g Pianoteq for the first tim time% e% us ustt fol follow low the on0 on0scr scree een n ins instru tructi ctions ons%% ASI ASID D driver dri verss are necessa necessary ry for o"t o"tain aining ing a low latency latency%% If usi using ng a sou soundc ndcard ard that is not dis istr trii"ut uted ed wit ith h its ow own n ASID dri rive verrs, yo you u can dow own nloa oad d AS ASID ID dri rive vers rs at www%asio)all%com % Opti!i(ation
If yo you u e epe peri rien ence ce po pops ps an and d cr crac ac#s #s wh when en pl play ayin ing, g, wa watc tch h th the e au audi dio o lo load ad an and d C< C<2 2 fre!uency in Options ► erf 9
:ed "ars in the graphic indicate an overload% In that case, loo# at the displayed C<2 fre!uency% If this fre!uency varies or stays "elow the normal fre!uency of your C<2, it comes from the
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'%' In Inst stal alla lati tion on fo forr Ma Macc DS / Clic# on the Pianoteq pac#age and follow the instructions% Activation is re!uired when launching Pianoteq for the first time% ust follow the t he on0screen instructions%
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'%) '% ) 2s 2sin ing g the the >ST >ST> >ST ST( (A2 A2A AA/ A/ plu plug0 g0in in Pianoteq can "e loaded "y any >ST, >ST(, Audio 2nits or AA/ host% ;ou will need to
specify, inside the host, your MI5I device and the driver you are using% )arnin$
Most hosts save your modifications and reload them when you restart% If you hear some strange sounds, ma#e sure that all parameters are at their default values% Chec#, for eample, whether the velocity and e!uali3er curves are correctly defined%
'%* ardware re! re!uirements Pianoteq can "e used with any MI5I compati"le #ey"oard% &e recommend a touch
sensitive #ey"oard, such as one with full weighted #eys simulating the hammer response of a real piano% See tutorial section 1(%) 1(%) for for adapting Pianoteq to your #ey"oard in the "est way% or partial pedalling, a progressive sustain pedal is re!uired% The re!uirements for using Pianoteq successfully are9 :ecent C<2 6dual!uad core recommended7 *1' M= :AM ASID compati"le sound card and drivers 6concerns &indows users only7 Internet connection 6however installation on a computer that is not connected to the internet is possi"le% See our AE at http9www%pianote!%comfa! http9www%pianote!%comfa!77 &indows 4 or later, Mac DS / 1K%4 or later, Binu 6-+ and A:M7%
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The !evices section 6in standalone mode only7 lets you select your #ey"oard, audio device and related driver 6Audio device type7, output channels, sample rate and audio "uffer si3e% In the MI!I section you can9 Assign Assi gn MI5I cont controll rollers ers to Pianoteq parameters 6eperienced users only O may produce unepected sounds with MI5I files containing special instructions7 2nassign all controllers ecept pedals and
Pianoteq computes all notes dynamically 6that is, in real time7% Thus a modern C<2 is
re!uired% =ass notes contain more overtones and thus re!uire more computations% The erf section section allows you to select from among the following features9 Multicore renderin" % ;ou should usually ena"le this feature% CU overload detection % 2nder certain circumstances 6a slow C<2, very fast music7, the C<2 may "e overloaded "y the num"er of re!uired computations% CU overload detection might "e useful for real time processing, for eample when whe n 1K se secon conds ds of sou sound nd re! re!uir uire e 1' sec second ondss of C<2 com comput putati ations ons%% Som Some e computations are then "ypassed% Internal Sample $ate affe affects cts the internal internal sampling sampling rate of Pianoteq% A lower fre!uency re!uires less computation% Thus the lower the capacity of your C<2, the lower you should set this sample rate% The ol&phon& is th the e nu num" m"er er of in indi divi vidu dual al so soun unds ds 6n 6not otes es,, sy symp mpat athe heti ticc resonancesL7 that are played simultaneously% The lower the capacity of your C<2, the lower you should set the polyphony% Alternatively, you can choose Auto 'essimistic or Optimistic( for an automatic polyphony setup%
'%4 '% 4 Eu Euic ic#l #lyy lo load adin ing g fp fp,, pt! pt! an and d MI5 MI5II fil files es ;ou can load f)p and ptq files files 6and MI5I files with the standalone version7 !uic#ly "y dragging each file at a time, from the file manager, email client or we" "rowser, onto the Pianoteq interface%
'%'% - MI MI5I 5I fi file le pl play ayer er 6s 6sta tand ndal alon one e ve versi rsion on77 The Pianoteq standalone version is e!uipped with a MI5I player that lets you play and *ile le ► +oa +oad d MI!I file and even record reco rd MI5I files% ;ou can load several several MI5I files via *i create your own MI5I
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'%-% '% -%' ' :e :eco cord rd and and Sa Save ve you yourr perf perfor orma manc nce e Clic# on the record "utton "utton to start recording your performance live% Save your MI5I file "y opening the *ile menu% There you can also eport your recording to a &A>, BAC or M<( audio file%
'%-% '% -%( ( =r =ril illi lian antt perf perfor orma manc nce e lost lostPP At any time, you can retrieve your reent performances via *ile ► $ecentl& pla&ed on the ,e&board%
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'%-% '% -%) ) St Step ep "y ste step p in in you yourr MI5 MI5II fil file e In the standalo standalone ne ver versio sion, n, for eplorin eploring g you yourr MI5 MI5II fil file e ste step p "y ste step, p, for forwa wards rds or "ac#wards, use the computer #ey"oard right or left arrows to play single notes or chords%
'% In Inte terf rfa ace mag agn nif ifiica cattio ion n The Pianoteq interface is resi3a"le, ma#ing it comforta"le to wor# with any display si3e% Clic# on Options ► -eneral and select the si3e in the Interface ma"nification menu, or simply use the handy #ey"oard shortcuts Q09
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( Dv Dver ervi view ew,, instr instrum umen ents ts &e come now to a "rief overview of Pianoteq% Its interface is divided into two sections9
An Instru!ent setion containing innovative features presented in three panels called Tunin". /oicin". and !esi"n% 8ach panel opens with a single clic#% The three Instru!ent setion panels
An Audi which ch off offer erss you a uni uni!u !ue e fea featur ture e ava availa ila"l "le e Audio o En$i En$ineeri neerin$ n$ seti setion on, whi through throu gh the Output menu9 microphones positioning and miing% The section also offers features li#e velocity curve, volume, dynamics, action and mallet settings, e!uali3er, rever"eration, rever"eration, chorus, flanger, phaser, compressor and other effects% The Audio En$ineerin$ setion
Ad$usting any of the parameters is easy% =ut you can also simply choose your instrument from the instrument menu on the top left%
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(%1 Instruments Pianoteq instruments are "ased on physical modelling
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sound is gen sound genera erated ted and how it pro propag pagate atess in space space analysis of original instruments%
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which simulates the way the coupled coup led to a math mathemati ematical cal
The optional instruments are included in demo mode in Pianoteq for your evaluation% ;ou can download additional free instruments from the user area at www%pianote!%com %
(%1% (% 1%1 1 Ac Acou oust stic ic pian pianos os and and pred predec eces esso sors rs &tein*ay Model D $rand piano
Authori3 Autho ri3ed ed "y Ste Steinw inway ay R Son Sons, s, the &tein*ay Model D grand piano is a virtual copy of a Steinway 5 from am"urg, famous forr it fo itss e e!u !uis isit ite e mu musi sica call e epr pres essi sion on an and d "e "ein ing g fe feat atur ured ed in nume nu mero rous us pr prom omin inen entt re reco cord rdin ing g st stud udio ioss an and d co conc ncer ertt ha hall llss worldwide% 8ach note has "een carefully ad$usted in its finest detail, $ust li#e in a real factory% The result is a stunningly vivid instrument created with the most demanding musician in mind% &tein*ay Model + $rand piano
Authori3 Autho ri3ed ed "y Ste Steinw inway ay R Son Sons, s, the &tein*ay Model + grand piano pia no was car carefu efully lly des design igned ed to rep reprod roduc uce e the fin finest est sou sound nd characte char acteristi ristics cs of a Steinway = instrument which was selected "y Modartt for this pro$ect% This model is "ased on the Martha Argerich edition, and is one of the twenty0five Steinway R Sons Model =0'11 grand pianos that the prestigious pianist carefully chose in 'K1) for their musicality% She signed each% 'rotrian ,onert Royal $rand piano
In co coop oper erat atio ion n wi with th r rot otri rian an,, Mo Moda dart rttt ha hass de deve velo lope ped d an accurate physical model of rotrian Concert :oyal grand piano, rightly considered to "e one of the "est grand pianos in the world wor ld%% In ord order er to rep reprod roduce uce the ch chara aracte cteris ristic tic cl clari arity ty and warmth of the original instrument, every detail of the
In co coop oper erati ation on wi with th =l =lt thn hner er,, Mo Moda dart rttt ha hass de deve velo lope ped d an accurate accu rate physical physical model of =lt =lthner hner Model 1 grand piano for
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fourth string for each #ey in the tre"le, called the Ali!uot system% Its purpose is to create a sympathetic vi"rating string that enhances the tone% This feature is included in the
The gr The gran and d pi pian ano o /0, wh whic ich h wa wass cr crea eate ted d fo forr Pianoteq 1, has evolved "y com"ining the "est elements of several models% Its '11 cm 6+ 11U7 ca"inet offers the magnificent sound that comes from a perfect "alance "etween warmth and "rilliance% 2,1 Ro3 $rand piano
The 2,1 Ro adds ds a lo lott of "i "ite te to yo your ur po pop pro rocc# Ro3 3 pia piano no ad recording, and fits "eautifully in a mi with drums and electric instruments% Its characteristic "right tim"re is also adapted for epressive playing and suita"le for $a33 recording sessions% ;C* is mo mode dell lled ed fr from om a wel elll #n #now own n a apa pane nese se gr gran and d pi pian ano, o, fre!uently seen on stages and widely appreciated "y touring arti ar tist stss fo forr it itss mu musi sica call !u !ual alit itie iess an and d re reli lia" a"il ilit ity% y% It is al also so a popular instrument at conservatories and other music schools% 45 upri$ht piano
The 45 upri$ht piano offers '1 eciting presets emphasi3ing the cha charac racter terist istics ics of upr uprigh ightt pia pianos nos%% =e =esid sides es the "ea "eauti utiful ful tim ti m"re of wel elll0" 0"ui uilt lt acou oust stiic pia iano nos, s, th ther ere e is hig ighe herr inharmonicity and increased imperfections in presets such as =lues =l ues,, on on#y #y To Ton#, n#, >in >intag tage, e, 5e 5etun tuned ed,, :ui :uined ned,, =ie =ier#e r#elle ller, r, Tac#y, &avy, &eathered, Clu"%%%
/re!se$$ ,olletion
This collection of "eautiful historical pianos, ranging from the 1-th Century to the late 1th Century, has "een created in colla co lla"or "orati ation on wi with th Hre Hremse msegg gg Sch Schlos losss Mus Museum eum 6A 6Aust ustria ria7% 7% It inclu inc ludes des vir virtua tuall cop copies ies of pia pianof nofort ortes es 7 Dohnal 614 614*7 *7,, 7 +road*ood 614+7, and grand pianos I7 +esendorfer 61-'7, I7 61-(*7, 7 8ren(el 61 61-)17, &7 Erard 61 61-)7, 7+7 Pleyel 61 61-*'7, ,7 +ehstein 6161-7 7%% Inc Incomp ompara ara"le "le for &treiher 61rendering the music of the Classical period, these instruments can also "e used for more recent rec ent com compos positi itions ons%% The lat late01 e01 th Ce Cent ntur uryy pi pian anos os,, pa part rtic icul ular arly ly,, wi with th a de desi sign gn approaching that of a modern piano, illuminate $a33 and other modern music%
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9ans Ru3ers harpsihord
The physical model is "ased on a copy "y Matthias riewisch of a 9ans Ru3ers II le eune harp harpsich sichord ord 61+' 61+')7% )7% Thi Thiss virtu virtual al instrument offers an etension of the original instrument, from )V to +V octaves, and is e!uipped with three registers W lower -, upper -, and ), which can "e com"ined in ways not even possi"le in the real world 6see the B-, 2- and ) "uttons a"ove the interface #ey"oard7% A local MI5I mapping allows you to change the registration directly via the ( lower notes of your #ey"oard% =esides sustain and soft pedals, this harpsichord is e!uipped e!uipped with a =uff stop pedal and a :attle pedal 6cf% Section 11%1 11%17% 7%
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HI>i: collection
This collection is the result of the / ey"oard ey"oard Instrument :irtual estoration pro$ect% It can "e downloaded from our we"site at R estoration www%pianote!%com % It includes the free instruments lavihord" i!balo!" harpsihords" pianofortes and aousti and eletro;aousti pianos % Some of them are presented in their current state% Their age has caused imperfections, such as some som e voi voicin cing g irr irregu egular lariti ities, es, wh which ich we hav have e #ep #eptt int intac act% t% &e regularly enrich this collection with new instruments%
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The grand pianos Steinway Steinway Model 5 and H' "ene "enefit fit from an unpr unpreced ecedente ented d #ey" #ey"oard oard range etension from -- to 1K* notes 6- ⅔ octaves79
Ori$inal=e
Most historical instruments included in the /I:iR collection collection have a reduced range% or some of them, it was possi"le to etend this range slightly% The etended range has "een set to the default range% If for some reason you want to use the original range 6as for eample using the original sympathetic resonances range7, $ust clic# on the minus 1
sign to the left of the virtual #ey"oard% Clic#ing on the plus sign will allow you later to come "ac# to the etended range%
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arp
The 9arp pac# offers a concert harp, physically modelled after a Salvi concert grand harp%The concert harp for
=y default, the #ey"oard is set to chromatic mode 6ecept 6ecept for the diatonic harp preset79
If you clic# on the little 5 to the left of the #ey"oard, you enter the diatonic mode where only white #eys produce a sound% As in a real concert harp, the #ey signature is specified "y seven pedals, from left to right 5, C, =, 8, , , A, each pedal "eing controlled "y a group of three "lac# #eys9
or eample, eample, clic#in clic#ing g on left "lac# "lac# #ey "elow 8 will produce produce an 8 ♭ alter alteratio ation n whereas whereas clic#ing on the right "lac# #ey will produce an 8X alteration% Clic#ing on the little C to the left of the #ey"oard "rings you "ac# to chromatic mode% Warnin"# if you play a MI5I file in diatonic mode, each "lac# #ey encountered in the MI5I
file will produce the relative change of the #ey signature%%% you might "e surprisedJ
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8lectric pianos
The Elet Eletri ri pian pianos os pac# offers three ama3ing electro0acoustic pianos from the seventies% 8ach 8lectric
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ohner Collection
The 9ohner 0 ,olletion, authori3ed "y ohner, includes four famous instruments manufactured from the early sities until the th e ear arly ly ei eigh ghti ties es99 2lectra3piano, i ian anet et N. i ian anet et T and Clavinet !4 % The virtual copies for
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>i"raphones
The :ibes pac# offers two "eautiful vi"raphones% /3M is a virtual copy of a Musser vi"raphone that "elongs to the famous rench vi"rapho vi"r aphonist nist 5any 5ori 5ori3% 3% /35 is a virtual copy of a =ergerault vi"raphone that "elongs to the Condorcet studio in Toulouse 6rance7% The "ars are made of metal%
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/ylophone and Marim"a
The >ylo pa pac# c# in incl clud udes es a y ylo loph phon one e an and d a ma mari rim" m"a% a% Th The e ylophone virtual copy is modelled after a modern (V0octave rench "rand and the marim"a virtual copy is modelled after a mode mo dern rn fi five ve0o 0oct ctav ave e r ren ench ch "r "ran and% d% In co cont ntra rast st wi with th th the e vi"raphone, the "ars are made of wood instead of metal%
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Toyy pi To pian ano, o, Cel eles estta, an and d l loc oc#e #en nsp spie iell
The ,eleste pa pac# c# in incl clud udes es a to toyy pi pian ano, o, a ce cele lest sta a an and d a gloc#enspiel% The sound of the toy piano is produced "y small hammers stri#ing metal rods% The virtual toy piano is modelled after a two octaves Michelsonne instrument and is etened to ) octaves% octav es% The cel celesta esta resem"les resem"les an acou acoustic stic upright piano "ut '
ohner is a registered trademar# of Matth% ohner m"
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houses metal plates struc# "y felt hammers resem"ling piano hammers% The virtual celesta is modelled after a modern five0octave erman "rand% The gloc#enspiel also has metal plates "ut they are struc# "y hard metal mallets held "y the musician% The virtual gloc#enspiel, modelled after a modern rench "rand, has "een etended to cover four octaves%
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Steelpans
The Pianoteq physical model has "een enriched to produce the char ch arac acte teri rist stic ic ti tim" m"re re of st stee eelp lpan ans, s, wi with th th thei eirr U" U"lo loom omin ingU gU overto ove rtones nes tha thatt are due to the me mecha chanic nical al pro proper pertie tiess of thi thin n steel sheets% sheets% Stee Steell drum drumss were originally originally "uilt from empt emptyy oil "arrels as the popular drums were for"idden "y the Trinidad government% The &teelpans pac# includes ) instruments9 Steel 5rum, Spacedrum, and
(%1%11 (%1 %11 Dth Dther er instrum instrumen ents ts Dther instruments such as church "ells and tu"ular "ells, are availa"le for download on our we"site at www%pianote!%com % Su Su"s "scr cri" i"e e to ou ourr ne news wsle lett tter er fo forr th the e la late test st information%
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(%' (% ' Ma Mana nagi ging ng in inst stru rume ment ntss and and pre prese sets ts ;ou can load and save instruments from the instruments menu 9
This menu This menu le lets ts yo you u ch choo oose se fr from om a li list st of "uilt0 "uilt0in in instruments an and presets, et etra ra instruments 6files with etension %pt!7 or presets 6etension %fp7 that you have saved in your
(%'%1 (%' %1 5i 5iffe fferen rence ce "etwe "etween en ?ins ?instru trumen ment@ t@ and and ?pres ?preset@ et@ The physical model contains a great num"er of parameters, "ut only a small proportion of th them em ar are e av avai aila la"l "le e th thro roug ugh h th the e us user er in inte terf rfac ace% e% &h &hen en on only ly th the e us user er in inte terf rfac ace e parameters are changed, changed, then we say that t hat it is still the sa!e instru!ent "ut a different preset% Hence presets are understood as variations of a given instrument% Stein6a& 6a& Mode Modell ! Clas Classical sical are the same or eample, Stein6a& Model ! relude and Stein instrument, as the difference lies in the microphone position which can "e defined "y the user himself% Dn the contrary, Stein6a& Model ! relude and 07 relude are two different instruments "ecause it is impossi"le to o"tain one of them "y modifying the user interface parameters of the other%
(%'% (% '%' ' In Inst stru rume ment nt mo modi difi fica cati tion onss ;ou can change any parameter of the current instrument or preset "y moving the correspo corr espondin nding g slid slider er with the mous mouse% e% Moving the mouse cursor perpendicularl& to to the slider will ma#e the slider move slowly%
8ach tim 8ach time e you modify modify par parame ameter terss in Pianoteq, a few computations are needed to update the instrument 6physical model7% Dnce you are done, Dnce done, the edit and save "ut "utton tonss to the right right of the instruments menu allow you to edit and save your new preset%
Also have fun trying the $andom "utton, which changes all settings randomlyJ
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(%( ints (%(% (% (%1 1 Cr Crea eati ting ng yo your ur own own in inst stru rume ment nt enerally spea#ing, you will find it more interesting to ma#e ad$ustments, large and small, in several parameters instead of ma#ing a single large ad$ustment% Moving a single slider to the left may throw the weight of the sound onto other parameters that you may want to ad$ust% Moving a slider to the far right may o"scure the contri"ution other parameters ma#e to the sound, or ma#e their small contri"ution seem too strong% Moreover, the parameters that interact may "e in separate panels, since each panel has cont co ntro rols ls th that at mo modi dify fy th the e wa wayy in wh whic ich h a si sing ngle le ph phys ysic ical al co comp mpon onen entt of a pi pian ano o contri"utes to the sound, instead of controlling the sound in general% This manual often touches on these ad$ustments% urther eperimentation will let you eperience the ways in which the parameters interact% Ma#e a small ad$ustment in one parameter and a large one in another% Ma#e large and small ad$ustments everywhere% ;ou can create almost any sound that a piano can create, and more%
(%(%' =rilliance =rilliance is an important sound !uality for achieving good realism% ;ou may want to ad$ust it whether you are staying close to the loudspea#ers, or listening at low volume levels, or using headphones% ;ou can for eample change the hammer hardness from the /oicin" panel, or use the 8E from the lower panel% The #ey"oard velocity itself plays a crucial role in the sense of "rilliance% >isit the user er forum forum http9www%forum0pianote!%com http9www%forum0pianote!%com where users provide velocity Piano Pia noteq teq us curves for many types of #ey"oards% See also the tutorial in section 1(%) 1(%)%%
(%(% (% (%( ( 2s 2sin ing g rev rever er"e "era rati tion on Bistening Bistenin g throu through gh loud loudspea spea#ers #ers usua usually lly re!u re!uires ires signi significa ficantly ntly less reve rever"er r"eration ation than throug thr ough h hea headp dphon hones% es% The rea reason son is sim simple ple99 whe when n usi using ng lou loudsp dspea# ea#ers ers,, the sou sound nd is naturally rever"erated "y the room in which they sit% &e thus recommend that you reduce the reverberation mi) when when using loudspea#ers% Moreover, it is worth mentioning that "ypassing rever"eration in Pianoteq does not have the same effect as "ypassing rever"eration in a sample0"ased instrument% In the latter case ca se,, un unle less ss re reco cord rdin ing g was ma made de in an an anec echo hoic ic ch cham am"e "er, r, th ther ere e is a na natu tura rall reve re ver" r"er erat atio ion n pr pres esen entt in th the e re reco cord rded ed sa samp mple less wh whic ich h ma mayy no nott "e pe perc rcei eive ved d as rever"eration "ecause the note release cuts the rever" tail itself, whereas in Pianoteq Pianoteq"" there is no rever"eration whatsoever when you switch it off% In that case, the sound loses an important part of its natural !uality and may sound strange or synthetic, particularly with headphones, "ecause in the real world we never hear sounds without some rever"eration% ence, we recommend "ypassing rever"eration only when using an eternal W or natural W rever"eratio rever"eration% n%
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(%) eneral commands (%)% (% )%1 1
The edit 6pen7 and save "uttons allow you to edit and save your new preset% The free(e chec#"o allows you to select the parameters that you want to #eep unchanged when changing instrument or preset% This is a very convenient feature for ?transporting@ settings from one instrument to another% The rando! command allows you to randomly change tunin", voicin". and desi"n parame par ameter ters% s%
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(%)% (% )%' ' Ma Mana nagi ging ng an and d sor sorti ting ng pr pres eset etss &hen you clic# on the edit "utton, the following presets manager appears9
It lets you manage the instruments and presets from the instruments menu% ;ou can edit the presets information, sort or filter them 6see some part of them7, rename them, etc% Edit
Information on each preset is displayed at the "ottom of the presets manager, as well as a small demo ecerpt 6 mini3pla&er to to the left of the edit "utton7% There you can edit the information related to your own presets, and record yourself your own demo ecerpt 6left and right clic#s on the mini3pla&er 7% 7%
&ortin$
The way presets are sorted can "e chosen "y clic#ing in the appropriate column9 reset name, Instrument or 5an,%
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A ban, is a set of presets that are located in a given folder, ecept the factor& "an# which contains all "uilt0in instruments and etra instruments provided as pt! files and located in the Addons folder% 8ilterin$
;ou can select the instruments and presets that are visi"le in the instruments menu through three different ?filters@ located on the right side of managing window9 search, All instruments, All ban,s% ;ou can also clic# on individual instruments or "an#s%
Rena!in$ presets
A dou"le clic# on a user preset name allows you to rename it% ;ou can also open the contetual menu "y clic#ing on the small arrows in the MI!I column%
The Pianoteq folders
The easiest way to find the Pianoteq folders is to clic# on the little folder images to the right of All instruments and All ban,s% The Pianoteq folder contains two su"0folders9 provided as pt! files, Addons9 this is where to store the etra instruments provided
I!portin$ f
There are two ways of importing fp files9 5rag and drop the file into the interface, Copy the file into the appropriate folder%
&avin$ presets
After you have created your new preset, you can save it "y simply clic#ing on the save "uttonY a popup window will as# you for a preset name and a "an# name 6default "an# is M& resets7% 8ach time you clic# again on the save "utton, you will save the new values with the same preset name% ;ou can access "ac#up copies with a right clic# on the preset name 6if there are some7%
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(%)%( (%) %( Ass Assign ignin ing g a param paramete eterr to a MI5 MI5II contr controll oller er ;ou can assign Pianoteq parameters to MI5I controllers such as those that may "e on your #ey"oard% Select the parameter slider that you want to assign 6right clic# on the slider and clic# on MI!I ► Assi"n MI!I Control 7 and move the #no" of the MI5I controller thatt you hav tha have e ch chose osen n for thi thiss pa param ramete eter% r%
(%)% (% )%) ) In Inst stru rume men nt con contr trol olss The fo The foll llow owin ing g ta ta"l "le e su summ mmar ari3 i3es es Pianoteq mai main n co contr ntrols ols tha thatt are ass associ ociate ated d wi with th instrument features and will "e discussed in the t he net sections% Feature
Controls
Action
Pitch
5iapason
Changes A 6a"ove middle C7 fre!uency
Tuning
Temperament 2nison width Dctave stretching
Chooses among standard temperaments re!uency variation within each unison 6group of three strings7 Stretches octaves
Sound length
5irec rect sou sound durat uratio ion n Sound"oard mechanical impedance
Modifi difie es the the dire direcct sou sound durat uratio ion n Modifies the glo"al sound duration9 raising impedance impedance yields longer sounds
Timbre
Spectrum profile
Modifies in individual in intensity of of th the first eight overtones Modifies the hammer noise level Changes the overtones level :aising cut0off fre!uency enriches high fre!uencies fre!uencies of each tone :aisi aisin ng E fac factor tor sh shorte orten ns hig high h fr fre!u e!uenc encies ies duration Controls sound ?acidity@ 6inharmonicity7
ammer noise Stri#e point Sound"oard cut0off fre!uency Sou Sound" nd"oar oard E fac factor tor String length Brilliance
ammer hardness
8nriches the high fre!uencies9 the harder the hammer, the "righter the sound
Resonance
Symp Sympat athe heti ticc res reson onan ance ce
Cont Contro rols ls the the amo amoun untt of of sym sympa path thet etic ic resonances 6strings, sound"oard, ca"inet7 Cont Contro rols ls the the amo amoun untt of of 5up 5uple le scal scale e resonances 6undamped string parts7
5upl 5uple e scal scale e res reson onan ance ce
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when en ad ad$u $ust stin ing g th the e pa para rame mete terrs to e etr trem eme e va valu lues es,, on one e ma mayy cr crea eate te )arnin$9 wh instruments having unusual or even unrealistic properties% ence one can create sounds that do not correspond to #nown instruments% inally, the Condition slider lets you modify the state of the instrument, from freshly0 tuned to com complete pletely ly worn worn0out% 0out% :ight0clic# :ight0clic#ing ing on this slider and changing changing the $andom parameter allows you to en$oy thousands of "ro#en instrument variations% seed parameter
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) Tuni ning ng pa pane nell Pianoteq allows you to perform all of the tuning operations usually made "y a piano tuner% The Tunin" panel contains the following controls9
)%1 5iapason The standard diapason 6A a"ove middle C7 fre!uenc fre!uencyy ( is ))K 3, "ut you can change it to other values "y clic#ing in the !iapason menu%
)%' Temperament The temperament defines the way the scale is tuned% =y clic#ing in the Temperament menu, you can choose from among the following temperaments 6see appendi79 2qual9 the standard tuning 9arlino 6circa 1**-79 sometimes called the ?physicians scale@, "ased on harmonic thirds 6ratio *)7 and fifths 6ratio ('7 &tha"ore 6>Ith A%C%79 "ased on harmonic 6pure7 fifths ecept for one 6the so0 called ?diabolus in musica @7% Can you hear which one it isP Mesotonic. Well3tempered and Werc,meister III 6/>IIth79 une!ual temperaments used in "aro!ue music *lat9 octaves ratio is strictly ', for use in certain circumstances, for eample with synthesi3ers%
!etune une entry in "oth 5iapason and Temperament menus gives you access to the The !et Note 2dit 3 !etune panel where you can detune your instrument note per note%
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re!uency is the num"er of oscillations per second%
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A uni!ue feature of Pianoteq is that tuning does not follow a pre0computed fre!uency ta"le 6ecept for the flat temperament7, "ut ta,es into account the inharmonicit& of the strin"s. in the same 6a& a piano tuner does 6ith acoustic pianos % ence, the consonance of the notes is improved and the chords have a fuller and richer sound% or other temperaments, you can enter the Advanced Tunin" panel "y clic#ing on the :mu; "utto "utton n % Ther There e you can impo import rt your own scala< files and #ey"oard mappings via the Temperament and 0e&board Mappin" menus%
&hen retuning an instrument, you can choose among two options9 Strin" tension or *ull Changi nging ng the str string ing ten tensio sion n aff affect ectss the tim tim"r "re e of the ins instru trume ment nt "e "ecau cause se rebuild % Cha inharmonicty increases when tension decreases, whereas full re"uild recali"rates all strings in order to provide the same tim"re for a given pitch%
)%( 2nison tuning As very few people #now, the three strings of each piano unison 6the strings hit "y each hammer7 are not tuned at eactly the same fre!uency% To change the timbre or colour of the sound, a s#illed piano tuner introduces small tuning differences "etween these three strings%
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or more information, see http9www%huygens0fo##er%orgscala
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8periment yourself "y gently changing The unison 6idth , that is, the difference "etween the lowest and the highest fre!uency produced produced "y the three strings of a single note, The unison balance , which allows you to ad$ust the t he intermediate fre!uency fre!uency of a ( strings choir from the lowest 6"alance Z 017 to the upper fre!uency 6"alance Z Q17 of the choir, "alance Z K "eing the factory setting value%
)%) Dctave st stretching It is !uite usual to stretch octaves* in a piano, "ut how much should they "e stretchedP &ellL this might "e a matter of tasteJ Ad$ust it to your own taste "y modifying The octave stretchin" parameter% The main effect will "e o"served in the tre"le notes%
&hen the octave stretchin" parameter is set to 1, the stretching follows the natural &hen inharmonicity of the strings 6depending on the string length7, so there still is a slight stretching% If you want no stretching at all, then use the flat temperament% transf nsfer er the stretchi stretchin" n" 6the in th the e Ad Adva vanc nced ed Tu Tuni ning ng pa pane nell Stretch me menu nu,, you can can tra amount of detuning7 induced "y inharmonicity to the 5etune parameter, which allows you to o"serve directly that detuning in the Note 8dit 0 5etune panel%
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The musical interval "etween the two closest notes with the same name 6e%g% A( and A)7 is
called an octave% The theoretical fre!uency ratio "etween two such notes is ', "ut in practice it is slightly stretched "ecause of the inharmonicity of the strings and the property of the human ear 6cf% also 5esign
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)%* 5irect so sound du duration Dne conse!uence of modifying unison fre!uencies is that you change the direct sound duration% The same thing happens when reshaping hammers% If you prefer, you can act directly on this duration "y changing9 The direct sound duration% duration%
Time representation of a piano sound deca&. natural scale 'l eft( and lo" scale 'ri"ht(% *ast deca& at the be"innin" 'direct sound(. slo6 deca& after 'remanent sound(%
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* >oi oici cing ng pan panel el 6ac 6acou oust stic ic77 The strings of a piano are struc# "y the hammers, small wooden pieces covered with hard felt% or a piano tuner, voicin" consists in ?shaping@ the sound according to the pianist.s taste% This is made "y wor#ing on the hammer felt, giving it the desired shape, hardness and elasticity% Pianoteq allows you to perform this same voicing operation% The voicing panel offers
you the following controls9
*%1 ammer ha hardness ere you can choose the hammer hardness at three different velocities9 iano. corresponding to MI5I velocity (' Me==o forte. corresponding to MI5I velocity +) *orte, corresponding to MI5I velocity +% The harder the felt, the more "rilliant the sound "ecomes% Df course, the louder you play, the harder the felt should "e, unless you wish to t ry some original playing effectsJ
*%' Spectrum profile ere you will find small sliders that allow you to ad$ust the individual intensity of the first eight overtones 6cf% section -%' -%'7% 7% 8periment with it "y increasing the weights of all fundamentals 6the first overtone is called the fundamental7 "y raising the first "ar% 5epending on the piano "rand, the seventh, eighth or ninth overtone is usually wea#er than the other overtones 9 the strength of the overtones is related to the hammer stri#e point defined "y the piano manufacturer%
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Time. frequenc& and time3frequenc& representation of a note. before and after voicin"% >ere. amon" other thin"s. the first overtone intensit& has been increased%
*%( ammer no noise ;ou can ad$ust the hammer noise , that is, the weight of the hammer percussion sound% &ith a loud hammer noise, you will feel as though you are standing close to the piano%
*%) Stri#e point The stri,e point slider allows you to choose the position where the string W or the "ar for percussion instruments instruments W is struc# "y the hammer or the mallet% A special humani=ation feature allows the stri#e point to vary as if it was played "y a human huma n musi musician cian%% This featu feature re is parti particula cularly rly suita suita"le "le for the chro chromatic matic percussion percussion instruments% :ight clic# on the stri,e point slider and select humani=e% ;ou can ad$ust the range of the random variation on "oth sides of the mean stri#e point%
*%* Soft pedal ere you can control the smoothing degree of the una corda pedal, also called the soft pedal% 5espite its name, the una corda pedal usually lets the hammer stri#e the three strings, "ut with a softer part of the hammer felt%
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+ >oi oici cing ng pan panel el 6el 6elec ectr tro0 o0 acoustic7 The tone sources 6reed, tine, "ar7 of an electro0acoustic piano are struc# "y hammers or mallets whose hardness can vary, depending on the material that is used% ere again, as forr ac fo acou ousti sticc pi pian anos os,, Pianoteq pro provid vides es a voi voicin cing g pan panel el tha thatt off offer erss the fol follow lowing ing parameters9
>ammer hardness , spectrum profile and hammer noise wor# in the same way as with acoustic instruments%
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4 >oi oici cing ng pan panel el 6cl 6clav avin inet et77 The clavinet wor#s much li#e a clavichord% &hen a #ey is depressed, a small ru""er tip stri#es the string and presses it on to an anvil% It contains two sets of pic#ups, positioned a"ove and "elow the strings, and is usually electronically amplified% The voicing panel of the clavinet lets you choose among the four standard pic#ups settings9 A0C9 ?ower pic#up =0C9 4pper pic#up A059 "oth pic#ups =059 "oth pic#ups "ut out of phase% 8ven more, it lets you ma#e any continuous change "etween "etween these four settings "y right0 clic#ing on the two C5A= "uttons%
The original register switches for tone colours =rilliant 6shortened to U=rightU7, Tre"le, Medium, Soft are also availa"le%
>ammer hardness , spectrum profile and hammer noise wor# in the same way as they do with acoustic instruments%
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- 5e 5esi sign gn pa pane nell 6a 6aco cous usti tic7 c7 This pan This panel el off offers ers con contro trols ls over over pi piano ano des design ign par parame ameter terss such such as str string ing len length gth or sound"oard characteristics 6the sound"oard is the wooden plate which transmits the string vi"rations to the air%7
-%1 Sound"oard Dn a re real al pia piano, no, you can cannot not cha change nge the sou sound" nd"oar oard d mec mechan hanica icall imp impeda edanc nce e +% &ith Pianoteq, it "ecomes very easy9 it is $ust one of the design parameters% ;ou can control9 The soun sound"oar d"oard d mech mechanic anical al impedance9 the greater the impedance, the longer the sound "ecomes% The sound"oard sound"oard cut3off frequenc& 9 the higher you set this fre!uency, the more high overtones will "e present% The soun sound"oa d"oard rd ? factor 9 the greater this factor, the faster the high overtones will decrease%
-%' String length 8ach pi 8ach pian ano o no note te pr prod oduc uces es a co comp mple le so soun und, d, ma main inly ly co comp mpos osed ed of overtones with approimate fre!uencies f. 7f. @f where f denotes the fundamental fre!uency% A pa para rame mete terr wh whic ich h gr grea eatl tlyy af affe fect ctss th the e ti tim" m"re re 6a 6and nd th the e tu tuni ning ng77 is th the e so so0c 0cal alle led d inharmonicit& 9 the more inharmonic the strings, the more the overtone fre!uencies of each string are driven away from their theoretical values f. 7f. @f and the more the piano sound will resem"le a "ell% Inharmonicity decreases very rapidly with string length% 8periment "y changing the Strin" len"th % The difference will "e most evident in the "ass range% ;ou can choose up +
That is, how the sound"oard resists the string vi"rations, and thus amplifies the sound%
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to a 1K meter long pianoJ At such a si3e, there is almost no inharmonicity%
-%( Sympa path the eti ticc res eson onan ancce The S&mpathetic resonance parameter controls the weight of the strings. sympathetic resonances% It is used, for eample, in the famous piece Mi,ro,osmos "y =[la =art\#% The sympathetic resonances depend on the position of each individual damper, and conse!uently on the position of the sustain pedal9 it is longer when the sustain pedal is down, for dampers do not then touch the strings% 8periment "y pressing down a few #eys very slowly so that they do not produce any sound, and then, without pressing down the sustain pedal, play a few notes staccato% ;ou will hear the resonance introduced into the first depressed notes% If you release these notes, the sound will stop% ;ou can also do the ?opposite@ eperiment% eperiment%
-%) 5uple scale The !uple) scale parameter controls the weight of the duple scale resonance, issued from the undamped string parts located "etween tuning pins and frame 6front scale7 and "etween "ridge and frame 6rear scale7% This invention was patented "y Steinway 6who consulted with the physicist ermann von elmholt37 in 1-4' and enriches the harmonic content of the notes%
-%* =looming The 5loomin" parameters, first designed for steel drums, can also "e used for the other instruments, allowing to create new sounds% The ?"looming@ effect that characteri3es the tim"re of the steel drums arises from the non linearity of the mechanical response of thin steel sheets% 5uring the attac#, some energy is transferred from lower to the higher overtones, producing a ?"oiinng@ sound% Two parameters control this effect9 The bloomin" ener"& parameter parameter controls the amount of mechanical energy which is transferred from lower to higher overtones, The bloomin" inertia parameter controls how fast this energy is transferred9 the higher the inertia, the longer it ta#es to "e transferred%
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5esi 5esign gn pan panel el 6el 6elec ectr tro0 o0 acoustic7 The tines that serve as resonator in certain electro0acoustic pianos produce a typical noise when hit "y the hammer during the attac#, or "y the damper during the release% In the Pianoteq 8lectric 8lectric
wor# r# in th the e sa same me way as wi with th ac acou oust stic ic Impedance and s&mpa s&mpatheti theticc reson resonance ance wo instruments%
ere again, the 5loomin" parameters, first designed for steel drums, can "e used for the electro0acoustic instruments, allowing to create new sounds% See in particular the ? M0I 5loomin" -rit @ preset%
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1K >elocity pa panel Dn the left side of the Audio 8ngineering section, you can find a velocit& control control curve, allowing you to ad$ust Pianoteq to your #ey"oard% ;ou can add or remove control points 6dou"le clic# to remove7 and modify the curve "y moving them with the mouse% The uppe up perr me menu nu le lets ts yo you u se sepa para rate tely ly ad ad$u $ust st /elocit& , Note3off , edal an and Aftertouch velocities% A right clic# on the velocity graphic opens a menu where you can select and manage velocity presets%
The calibration "utton "utton opens opens the 0e&board calibration assistant which will help you ad$ust Pianoteq to your #ey"oard and pedal and to your own playing style% &e strongly recommend recommen d that you follow that procedure at least once% See also tutorial t utorial 1(%) 1(%)%% The reset "utton resets the displayed velocity curve to the default curve% If your digi digital tal #ey"oard #ey"oard is not e!ui e!uipped pped with Aftertouch Aftertouch,, you still can test Pianoteq@s Aftertouch "y clic#ing with the mouse on its graphical #ey"oard and dragging the cursor vertically a"ove the #eys%
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11 Dutput panel In the middle of the Audio 8ngineering section you will find9
recordin" din" mode modess 9 A menu that allows you to choose from among four recor The sound recordin" stereophonic, monophonic, sound recordin" and binaural% The mode lets you set !irophone positions for acoustic instruments% The binaural mode includes a hea head d !od !odel el and is mostly intended for use with headphones% The stereophonic an and monophonic mod modes es are use used d wi with th ele electr ctro0a o0aco coust ustic ic instruments and also allow compati"ility with previous
A vol volume ume >2 me meter ter,, e!u e!uipp ipped ed wi with th a limiter than than can "e turned onoff "y a simple clic#% =y reducing high amplitudes, the limiter is intended to avoid crac#s that may appear when the amplitude is too high 6in such a case, the clipping led to the right of the vu0meter shows up7% The sound volume% ;ou can ad$ust it note "y note via a dou"le clic# on the slider% The sound sound d&namics, which controls the loudness level "etween pianissimo and Sinc nce e it is ap appl plie ied d to each each no note te,, it can "e se seen en as th the e ideal fortissimo% Si o!pressor for it allows you to ad$ust the dynamics without any distortion% In particular, the attac# attac# and decay of individual individual notes are not modified% modified% Ten types of pedals that can "e assigned to the four user interface pedals 6you can change the default assignment for each pedal "y right0clic#ing on the pedal7%
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The ten pedals that can "e used are the following9 o
Una corda pedal, also called soft pedal% It moves the piano action to the
right 6on grand pianos7, so that the hammers stri#e the strings differently, changing the timbre of the notes, o
Celeste peda pedal, l, also call called ed mode moderator rator,, wher where e a felt strip is inte interpose rposed d
"etween "etwe en ham hammer merss and str string ings, s, cr creat eatin ing g a sof softer ter sou sound nd%% Thi Thiss ped pedal al is usually found in upright pianos and in some pianofortes, o
>armonic pedal, allows you to play staccato while maintaining the sustain
pedal resonance effect, o
Sostenuto pedal, allows you to hold some notes after release without
pressi pres sing ng do down wn th the e su sust stai ain n pe peda dal% l% 5e 5epr pres esss so some me #e #eys ys,, de depr pres esss peda dal, l, re rele leas ase e th the e #e #eys ys,, an and d th the e so soun und d of th the e no note tess sostenuto pe cont co ntin inue ue as lo long ng as th the e sostenuto pedal pedal is down% down% Che Chec# c# UIgnor UIgnore e sustai su stain n pedalU pedalU if you do not want want the sostenuto pedal to capture dampers lifted "y the sustain pedal,
o
the the will wi ll the the
pedal, al, where where the notes notes held "y the sostenuto can "e Super Sostenuto ped replayed staccato, which is not possi"le on a UrealU piano,
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o
Sustain pedal, which lifts the dampers, letting the strings ring after the
#eys are rel #eys releas eased% ed% =ei =eing ng pro progre gressi ssive, ve, it all allows ows the so0 so0cal called led ?p ?part artial ial 4 pedals@ , o
$attle pedal, also called bassoon pedal, which e!uipped certain historical
pianos, as for eample the =esendorfer from the Hremsegg collection% A piece pie ce of pa parch rchmen mentt com comes es into contac contactt wi with th the strings strings to cre create ate a "u33ing noise resem"ling the sound of the "assoon, o
5uff Stop pedal, where a wooden "ar covered with leather or felt is
pressed against the strings, softening and shortening the tone% It can "e found in some harpsichords and historical pianos% Dn a real harpsichord, the "uf "ufff sto stop p gen genera erally lly act actss onl onlyy on one re regis gister ter,, lea leavin ving g the oth other er regist reg ister erss unt untouc ouched hed%% In
o
-lissando pedal, which produces smoother note attac#s, as when a harpist
plays glissandos on his harp, o
inch >armonic pedal, which produces harmonics "y shortly touching the
string at a specific point on new notes, producing harmonics% Also #nown "y harpists as flageolet%
4
If your piano supports a fine enough MI5I progression when using the sustain pedal%
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11%' 11 %' A sound sound radiat radiation ion physi physical cal mode modell The Pianoteq instr instrumen uments ts are "ase "ased d on a phys physical ical model of the sound"oard sound"oard and its radiation% It simulates the sound field generated "y the instrument, and thus allows you to place place !irophones anywhere around the piano, or $ust a"ove the sound"oard, or even "elow the piano if you want% The acoustic pressure and pressure gradient are measured meas ured where you plac place e the mic microph rophone, one, whic which h allo allows ws to simu simulate late omni omnidire directio ctional nal microphones microphon es as well as directional microphones%
A head !odel is also provided9 here, an additional treatment is applied to the sound pressure registered "y the ears of the listener% It can provide an increased realism when listening with headphones%
11%( 11 %( Sou Sound nd rec record ording ing mo mode de Dnce you have selected the recording mode, the microphone window opens 6you can detach the microphone window "y hovering the mouse cursor a"ove the microphone area and dragging it with the mouse7% ;ou can then drag a microphone to any location around the instrument and choose its direction%
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11%(%1 11%( %1 Micr Microph ophones ones and microphone microphoness tech techni! ni!ues ues Several types of virtual microphones are availa"le, such as omnidirectional, cardioid and figure -, to choose from a range range of well0#nown microphone microphone "rands9 "rands9 2-4 6omni, cardio and fig-7, 5
&hen ro)imit& effect compensation is chec#ed, an automatic compensation algorithm is involved which avoids the increase in "ass response when the microphone is close to the sound"oard%
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To ma#e it easier moving several microphones, you can lin# them together, either "y the +in, to command from the microphones menu, or "y dou"le0clic#ing in "etween the microphones you want to lin#% Then you can move them, rotate them and ad$ust their distance to each other%
=y right0clic#ing in the mic area, you can save your mic settings as a Mic% reset and load those you have created%
ere are a few classic microphones techni!ues% techni!ues%
A= Techni!ue% Two omnidirectional microphones are placed approimately *K cm 61U7 of each other% The techni!ue is denoted =A in
A=
/;
D:T
MS
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11%( 11 %(%' %' Mi Mi ta"l ta"le e The mi ta"le allows you to mi the microphon microphones es into the different output channels% or each active microphone and each active channel, you can ad$ust the volume, the delay and the polarity that you want to "e applied "y clic#ing in the corresponding cell 6right clic# opens the popup7%
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11%(%( 11% (%( Com Compe pensa nsatio tion n &hen switched on, +evel compe pen nsa sati tion on and and !ela& comp compensat ensation ion comp compensat ensate e respectively for the level and delay on each line connecting a microphone to a channel% &hen switched off, the raw sound from the t he microphones is heard9 the volume decreases with the distance from the piano while the delay increases% In "oth cases, level and delay that you ad$ust in the mi ta"le are relative to the chosen configuration%
11%(%) 11%( %) Stere Stereo o width width and and sound sound speed speed Two other parameters can "e ad$usted in the sound recording mode9 The stereo 6idth% This parameter allows you to narrow or "roaden the stereo image of the instrument, The sound speed % Since this parameter was present while we developed the model, we chose to ma#e it availa"le for you% Its effect is e!uivalent to changing the time unit% It modifies the travel time of the sound waves in the air%
11%(%* 11% (%* Bid pos positi ition on The lid can "e raised or lowered% over the mouse over the top edge of the lid and drag the lid to raise or lower it% This feature appears in the same panel as the microphone position "ecause it is part of the acoustic radiation model and thus directly influences the sound waves captured "y the t he microphones%
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11%(%+ 11% (%+ =i =inau naural ral mod mode e If you hav have e sel selec ected ted the binaural mode, you can choose the position of the listener around the piano% The "inaural mode involves physical modelling of a dummy head% ;ou can rotate the head in any direction, and you can even increase its si3e 6for "ig headed people only7%
11%(%4 11%( %4 A"ou A"outt the microp microphone honess position position As is well0#nown among sound engineers, the microphone position has a dramatic effect on the resulting sound of the piano9 for some positions, the sound is nicely "alanced from low to high fre!uencies while other positions lead to a strongly coloured sound% There might "e places where some fre!uencies are almost completely missing 6wave nodes7 nod es7,, and even the "est pos positi ition on is far fro from m ren render dering ing a pur purely ely fla flatt res respon ponse9 se9 recording always "rings some additional colour, which ma#es sound recording a real art% The net graphic gives an idea of how ?flatness@ can vary with the position9 the lower a point of the surface, the flatter the response "ecomes%
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1' ro rom m ac acti tio on to ef efffec ects ts The lower right panel gives access to the Action. Mallet 5ounce. 2quali=er and 2ffects settings% The "uttons "elow it provide a shortcut for ena"lingdisa"ling the selected effects and the rever"%
1'%1 Action ere you can ad$ust several parts of the piano action9 !amper position 9 when a note is released, the damper falls "ac# on the strings and each overtone decays more or less rapidly depending on the damper position% It is particularly noticea"le in the "ass notes when using partial pedals 6and also with #ey"oards sending varia"le #ey release velocity7, 6efficiencyy of the dampers7, !ampin" duration 6efficienc +ast damper 9 all #eys with MI5I note num"er greater than this value have no damper, Mute9 ma#es the dampers more or less press onto the strings, 0e& release noise. Sustain pedal noise 9 ?whoosh@ when all dampers rise together, as well as when they fall%
1'%' 1' %' Ma Mall llet et "oun "ounce ce This fe This featu ature re is par partic ticula ularl rlyy int inter erest estin ing g for the ch chrom romati aticc per percu cussi ssion on ins instru trume ments nts,, including the cim"alom%
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;ou can ad$ust the way the mallet "ounces on the "ar 6or on the cim"alom strings79 Initial dela& 9 ad$ust the delay for the initial "ounce /elocit& sensitivit& 9 the higher the sensitivity, the longer the first "ounces at high velocity 6the ?drop height@ has increased7 !ela& loss9 ad$ust the amount of delay loss from one "ounce to the net one /elocit& loss9 ad$ust the amount of velocity loss from one "ounce to the net one >umani=ation9 ad$ust the random variation of all these parameters%
1'%( 8! 8!ua uali li3e 3err Contrarily to the 2qu@ effect 6cf% Section 1'%) 1'%)7, 7, this equali=er wor#s wor#s in pre0processing 6modifying the model before computing sound7% The fact that it wor#s in pre0processing compensati nsation on9 for ea allows all ows automat automatic ic volume compe eamp mple, le, wh when en inc increa reasin sing g the me mediu dium m spectrum, it will increase the medium fre!uencies in each note while #eeping the natural "alance across the #ey"oard% In other words, the middle notes will not get suddenly louder than the other ones% Another advantage of pre0processing is that it allows very fine variation in the 8E curve, unli#e on a standard ( "and 8E% ;ou can add 6clic#7 or remove 6dou"le clic#7 control points and modify the curve "y dragging them with the mouse%
1'%) 8f 8fffec ects ts The effects panel lets you chain three effects that can "e switched if wanted%
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The effect effect me menus nus allow allow you to sel selec ectt amo among ng the followi following ng eff effec ects9 ts9 Tremo Tremolo. lo. Wah. Chorus. *lan"er. haser. !ela&. Amp. Comp. 2qu@ %
The following controllers are shared "y several effects9 !ela& 9 the length of the delay line in milliseconds !epth9 the loudness variation in d= in the effect *eedbac,9 the percentage of signal feed"ac# in the effect delay line Mi) 9 the ratio of the effect and the unprocessed sound Mono switch9 changes the effect from mono to stereo $ate9 fre!uency of the oscillator that modulates the effect Stereo9 phase offset "etween the stereo oscillators S&nc switch9 its menu allows synchroni3ing the effect to the tempo Tone9 simple tone control for the delayed signal%
In the Tremolo effect, you can control the shape of its BD "y draging the mouse hori3ontally and vertically over the Shape curve%
In the Wah effect, the Wah slider itself is the direct controller of the 6ah36ah effect 6right clic# on it and clic# on MI!I to assign it to a MI5I controller7% In Auto3Wah mode, the Wah is modulated "y the amplitude of the sound% Specific Wah controllers9 Sensitivit& 9 Auto3Wah is disa"led when the slider is at the etreme left% The more you push it to the right, the lower the amplitude which starts triggering the Wah effect !epth9 controls the upper limit of the fre!uency shift for the 6ah36ah filter%
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Similarly, Similarl y, in the haser effect, effect, the hasin" slider is the direct controller of the phaser effect% Specific haser controller9 controller9 Intensit& 9 the width of the fre!uency sweep, ranges from K^ to 1KK^%
The Amp effect simulates an amplifier e!uipped with the following controllers9 Mi) 9 the ratio of the effect and the unprocessed sound !rive9 amount of distortion introduced in the signal fre!uenciess "oost 5ass9 amplifier low fre!uencie Midran"e9 amplifier mid0range "oost Treble9 amplifier high fre!uencie fre!uenciess "oost%
The Comp effect is a standard compressor with the following controllers9 $atio# gain ratio inputoutput a"ove the threshold Attac,# the time it ta#es for the compressor to reduce the gain once the signal reaches the assigned threshold level $elease# the time it ta#es for the gain reduction to end once the signal drops "elow the assigned threshold level Threshold# the level at which the compressor gain reduction starts -ain# the gain in the overall level after the compression%
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The 2qu@ effect is a simple (0"and parametric e!ualiser% 5ragging control points on the interface will change the cutoff0fre!uency and the gain of each "and%
1'%* 1' %* :e :eve ver" r"er erat atio ion n A new convolution convolution reve rever"er r"eration ation unit simu simulates lates acoustic surroundings surroundings rangi ranging ng from Studio up to very long rever"s li#e Cathedral or Ta$ Mahal% It includes other types of rever" rev er"ss suc such h as
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1(%1 1( %1 Tu Tuto tori rial al 19 19 tuni tuning ng &hat is the difference "etween a ?normal@ piano and a ?hon#y ton#@ pianoP Most of the difference can "e found in the unisons tuning% 8ach note has three strings, ecept in the "ass range% The hon#y ton# sound comes from the fact that these three strings are not in tune9 they do not produce the same fre!uencies% ;ou can o"tain this effect "y moving the unison 6idth slider to the right in the Tunin" panel9
Normal tunin"
>on,& ton, tunin"
owever, having the three strings perfectly in tune is not necessarily "est% If you push the slider completely to the left, the three fre!uencies of each unison will match almost perfectly, "ut you will find that the sound "ecomes uninteresting% It sounds too ?clean@Y it lac#s life% So, how should it "e tunedP There is no universal truth in such an aesthetic matter% That is why Pianoteq, for the first time in a digital piano, lets you ad$ust the unison tuning to your own tasteJ &hen changing unison 6idth , you may also find it interesting to change the direct sound duration, reducing it if you have reduced unison 6idth and vice versa% D"serve that the closer the strings are to "eing in eact unison, the faster the direct sound will decay and the slower the remanent sound will decay% 2nison tuning is not the only feature that affects tuning9 another !uestion is how intervals, that is, the fre!uency ratio "etween two different notes, are tuned% The tuning of all the intervals within an octave is called a temperament% Dver the years, many different temperaments have evolved% The most commonly used today is the e!ual temperament, in which all semitones are e!ual% owever, a few hundred years ago, people used many other temperaments, some of which you can choose in the temperament menu% Try playing them% ;ou may find the difference not so evident evid ent when playing playing single single notes, "ut much more prominent prominent when playing playing chords, some of them having a nice consonant sound, whereas others having a !uite harsh sound%
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1(%' 1( %' Tu Tuto tori rial al '9 voi voici cing ng The main o"$ective of piano voicing is setting the "rightness of the sound "y ad$usting the hammer hardness% 5ifferent music may re!uire different voicing% The /oicin" panel contains three hammer hardness sliders% Try first moving the me==o slider, which acts on the hammer hardness around MI5I velocity +)% Moving it to the left, you will o"tain a softer sound, whereas moving it to the right yields a "righter sound9
Normal settin"
5ri"ht settin"
Dnce you are familiar with these sound changes, you can try the other two sliders acting at piano level and forte level respectively% ;ou may also want to eperiment with using hammerr hardness hardness setting% ;ou the hammer noise parameter parameter in con$ con$unct unction ion with this hamme can, for eample, set the hammer hardness to very soft, "ut increase the volume of the hammer hitting the string using the hammer noise settin"% In other words, reducing the hardness of the hammer doesn.t mean that you have to lose the percussive sound of the hammer as you reduce the "rightness of the sound% Dn the other hand, you may want to have hard hammers to ma#e the tim"re "right, "ut at the same time reduce the volume of the percussive #noc# of the hammer hitting the strings% Another feature is timbre ad$ustment through the intensity of the individual overtones, which can "e partially performed on a real piano "y shaping or needling the hammers% Try moving the overtone sliders one "y one in the spectrum profile , starting with the first overtone, also called the fundamental% 8periment "y increasing the eighth overtone "y 1* d=% A funny sound, isn.t itP Net, try some more glo"al shaping, raising or lowering, for eample, the first three overtones9
>oicing is not independent from tuning, for shaping the sound during tuning can "e considered as voicing% 5o you want to o"tain longer decayP Then you can9 Act directly on tuning "y reducing the unison width in the Tunin" panel, Act indirectly on tuning "y increasing the direct sound duration, Act on design parameter "y increasing the sound"oard mechanical impedance in the !esi"n panel%
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1(%( 1( %( Tut Tutori orial al (9 sound" sound"oar oard d design design Sound"oard impedance plays a crucial role in piano design% &hat is the sound"oard mechanical impedance P &hen a periodic force is applied to the sound"oard, the wood oscillates with a certain velocity at the same fre!uency as the applied force% The sound" sou nd"oar oard d im imped pedes es 6re 6resis sists7 ts7 wit with h its ine inerti rtia, a, ela elasti stici city ty an and d res resist istanc ance9 e9 thi thiss is the mechanical impedance, impedance, which has a ratio of force 8 velocit& % Typically, a high impedance results in a long sound "ecause the energy is only slowly transmitted from the strings to the sound"oard, and vice versa% igh impedance yields long "ut wea# sounds whereas low impedance yields strong "ut short sounds% ence piano pia no man manufa ufactu cturer rerss hav have e to fin find d a com compro promis mise e "et "etwe ween en sou sound nd lev level el and sou sound nd duration% &ith Pianoteq%s solution, you are free to amplify the sound as much as you want% There is no more compromise% ;ou can set the impedance, adapting it to the sound duration that you want9
The first first slider, slider, impedance, acts glo"ally on the impedance at all fre!uencies% Moving it to the right will result in longer sounds and vice versa%
The mechanical impedance depends on the fre!uency% The impedance is usually !uite high "elow a certain fre!uency called the cut3off frequenc& , a"ove which it drops down with a slope called the ? factor 9 the rate at which impedance is reduced and thus the rate at which the sound decreases in length% igher fre!uencies decay more rapidly than lower fre!uencies% ence9 Moving the second slider, cutoff , to the right will increase the cut0off fre!uency, and thus increase the num"er of high overtones that are long% Moving the third slider, ? factor , to the right will increase the impedance slope, and thus decrease the duration of the overtones a"ove the cut0off fre!uency% Moving it to the left will instead allow these overtones to decay more slowly, prolonging the initial "right sound $ust after the attac#%
8ample9 if you li#e emphasi3ing the sound of the strings, you can reduce the ? factor % Alternatively, you can increase the impedance or the cutoff %
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1(%) Tuto Tutorial rial )9 adapti adapting ng
&tep .7 If your #ey"oard has its own velocity settings, choose the one you li#e the
"est in general%
Hey"oa "oard rd cal cali"r i"rati ation on ass assist istant ant "y cli clic#i c#ing ng on the calibration &tep 07 2se the Hey "utton "elow the velocity window and follow the instructions step "y step%
&tep 7 If necessary, ma#e further ad$ustments of the velocity curve "y moving
the control nodes of the curve or adding new ones% 8urther adBust!ents
Some further ad$ustments can "e made that depend on the instrument you are playing9 &tep 57 Select the dyna!is that you want to use, typically "etween 'K d= and +K d= d=%% Me Meas asur urem emen ents ts ma made de on ac acou ousti sticc pi pian anos os sh show ow a dy dyna nami micc ra rang nge e of approimately *K d=% In piano recordings, due to compression compression,, the dynamic range is often much narrower% In Pianoteq, when changing dynamics, the forte volume remains constant while the lower amplitudes are raised or lowered%
appropriate iate ti!bre when playi playing ng piano, me==o forte and &tep 17 Choose the appropr forte "y moving the corresponding sliders in the >oicing panel%
;ou are now ready to play% Note that steps ( to * can also "e used to adapt Pianoteq to a given MI5I file in the t he "est possi"le way%
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1(%* Tuto Tutorial rial *9 differe difference nce "etween "etween spectr spectrum um profile profile and e!uali3er &hat is the difference "etween the spectrum profile 6see tutorial '7 and the e!uali3erP Bet.s loo# at an eample% Dpen the /oicin" panel and set the first two spectrum "ars respectively to Q+ d= and Q( d=9
&hat happens to the soundP All notes are modified9 for each note, the fundamental has "een increased "y + d= and the second overtone "y ( d=% The piano sound has "ecome glo"ally softer "ecause the higher overtones now have a lower amplitude relative to the fundamental and the second overtone% 2sing several 2sing several undoBs, put the spectrum "ars "ac# to their original values, and now ad$ust the e!uali3er curve, increasing it from K d= to 1K d= when going down from 'KK 3 to +' 39
&hat happens to the sound nowP or all notes with a fundamental fundamental above 'KK 3, that is, a"ove ' 6the $ust "elow middle C7, nothin$ happens, "ecause their overtones are all a"ove 'KK 3, where the e!uali3er is a straight hori3ontal line% or notes belo* ', the first overtones are modified according to the e!uali3er curve% or eample, 1 whose fundamental is - 3 will have its fundamental fre!ue fre !uency ncy inc increa reased sed "y + d= d=,, wh where ereas as the oth other er ov overt ertone oness rem remain ain alm almost ost unchanged 6"ecause they are a"ove 1+ 37%
The resulting piano sound will have more "ass, with an unchanged middle register and tre"le notes%
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features9 Note per note ad$ustment for physical parameters9 tuning, unison width, hammer hardness, stri#e point, string length, spectrum profile, sound"oard impedance, damper damp er position%%% position%%% This note per note ad$ustmen ad$ustmentt is avail availa"le a"le in the Standard Standard version only for tuning and volume% Sample rates availa"le up to 1' #3 6limited to )- #3 in the Standard version7% =e aware that a high sample rate will generate a massive increase of C<2 load%
1)%1 Not ote e 8di 8ditt The Note 2dit 6note per note ad$ustment7 of parameters is a very powerful tool that lets you ad$ust the chosen parameter for each note%
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;ou acce access ss the Note 2dit wi windo ndow w "y cli clic#i c#ing ng on the Note 2dit "utton or "y dou"le clic#ing on an ?edita"le@ slider% ;ou can drag the Note 8dit window anywhere on your screen and open several new windows, allowing you to wor# on several parameters at the same time time as you can see in the pictur picture e a"o a"ove, ve, where where Unison 6idth and !irect sound duration are "eing ad$usted% D"serve the handles that let you perform some more glo"al changes on the curve% These handles are located on specific control notes that you can selectunselect "y a dou"le clic cl ic# # on the contr control ol rail "elow the graphic% These control notes are shared "y all parameters ecept the special case of the spectrum profile which is descri"ed in the net section% or fine tuning, press the Shift #ey while moving a point of the curve%
Clic#ing outside a control note lets you modify any other note individually%
Convenient tools are provided that allow you to modify a given shape9 random. smooth and rescale% Cli Clic# c# and drag the mo mouse use around around the "utton "utton to var varyy the degree degree of the effect 6see also the tips that are provided on the interface7% The reset "utton resets all parameter param eterss to the save saved d setti settings ngs of the preset 6contained 6contained in the fp file on the hard drive7%
1)%' 1) %' Sp Spec ectr trum um pro profi file le The Note 8dit of the Spectr wor# r#ss a "i "itt di diff ffer eren entl tlyy fr from om th the e ot othe herr Spectrum um rofil rofile e wo parameter param eters, s, for you can ad$ust eah overtone overtone for eah noteJ ;ou can access it "y a dou"le clic# on any of the spectrum profile sliders% Dvertone Dverto ness can "e mod modifi ified ed ind indivi ividua dually lly,, "u "utt al also so in dif differ ferent ent com com"in "inati ations ons cal called led harmonic. comb. maor. octave %%% >arious draw modes named simple dra6 , haircut and fill onl& are also provided% All these features are grouped in the same menu on the right, la"elled simple dra6 at at first access%
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The spectrum profile has its own set of control notes that you can selectunselect "y a dou"le clic# on the control rail "elow the graphic% They are independent of the control notes used "y the other parameters%
Dutside the control notes, the spectrum profile is linearly interpolated, and you can o"serve the intermediate values "y clic#ing on the corresponding note on the control rail%
1)%' 1) %'%1 %1 8 8am ampl ple e1 If you set a single control note and increase its third overtone "y + d=, all of the notes will have their third overtone increased "y + d=9
&ith a single control note%%%
%%% all other notes are modified in the same way%
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1)%' 1) %'%' %' 8 8am ampl ple e' ere W starting with a reset to clear everything W since s ince we wanted only the middle C to "e modified, we added ' control notes on each side to prevent the interpolation from ?propagating@ to the other notes9
&ith three consecutive control notes%%%
%%% you can alter only the middle note if you want to prevent your edit from spreading to the notes a"ove or "elow it%
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1)%' 1) %'%( %( 8 8am ampl ple e( In this last eample, we modified the middle C and the C "elow, and we o"serve how the intermediate notes are interpolated9
%%% and the C "elow %%%
%%% results in interpolated values for the "etween%
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1* Ap Appe pend ndi i99 te temp mper eram amen ents ts const constru ruct ctio ion n MATLAB programs for some
fre!uencies f 6which may "e stretched7 and corresponding MIDI num"ers% %------------------------------------------------------------------function f = pythagore(f, pythagore(f,MIDI) MIDI) %------------------------------------------------------------------delta = 3!!"(#$!) ratio = delta&"'-3 - -$ - $ -* 3 -! -# + - ! f = f&.ratio(re/(MIDI,$!)0$) %------------------------------------------------------------------function f = 1arlino(f,MI 1arlino(f,MIDI) DI) %------------------------------------------------------------------ratio!2 = '$ !!* 3!!# * *3 *3! 3! !$ 3 $ $ ratio = ratio!2&!&"((+4$$)$!) ratio = ratioratio($+) % lea5ing A unchanged f = f&.ratio(re/(MIDI,$!)0$) %------------------------------------------------------------------function f = /e6otonic(f, /e6otonic(f,MIDI) MIDI) %------------------------------------------------------------------7 = "($*) ratio!2 = '$ .7"3$ 7"!! *.7 * !7 .7"! 7 &&& !$ 7"3! *.7"! .7* ratio = ratio!2&!&"((+4$$)$!) ratio = ratioratio($+) % lea5ing A unchanged f = f&.ratio(re/(MIDI,$!)0$) %------------------------------------------------------------------function f = 8ellte/pered(f,MIDI) %------------------------------------------------------------------7 = /a9(real(root6('$ + + ! -))) a = ($!7")"($#) ratio!2 = '$ a"!.7"$ 7"!! a"*.7"3! 7"** !a a.7" 7 &&& a"3.7"$ 7"3! *a"! a.7"** ratio = ratio!2&!&"((+4$$)$!) ratio = ratioratio($+) % lea5ing A unchanged f = f&.ratio(re/(MIDI,$!)0$) %------------------------------------------------------------------function f = 8erc:(f,MIDI 8erc:(f,MIDI) ) %------------------------------------------------------------------ratio!2 = '$ !!*3 $&$$#* 3!!# $&!! *3 $+!*#! $&** &&& $!$ $&#+* $ $&#! ratio = ratio!2&!&"((+4$$)$!) ratio = ratioratio($+) % lea5ing A unchanged f = f&.ratio(re/(MIDI,$!)0$)
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Some Som e of the these se tem temper perame ament nt def defini initio tions ns der derive ive fro from m ?5e ?5err
unghanns, >erlag 5as Musi#instrument ran#furtMain, 14@
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1+ Sp Spec ecia iall ac#n ac#now owle ledg dgem emen ents ts 1+%1 1+ %1 Ins Instru trume ment nt pro provid viders ers
Michel Armengot, rance 6electric piano C<0-K7
1+%' 1+ %' :ec :ecord ording ing en engin gineer eerss
Buc ilaretos 6Studio le raal, rance7 Baurent Minh 6in#go, rance7 erwig
&arm than#s to our "eta testers, who helped us greatly in improving our instruments% &ithout &ith out thei theirr inte intensiv nsive e part particip icipation ation,, their cons construc tructive tive crit criticis icism m and enli enlighte ghtening ning advi ad vicce, Pi would uldn.t n.t hav have e "ec "ecome ome the en$ en$oya oya"le "le ins instru trumen mentt wh whic ich h you are Pian anot oteq eq wo playing% Many than#s also to our customers and distri"utors for their support and all others who supply us with valua"le opinions and ideas%
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,o!pany
MD5A:TT is a company that develops and provides software, hardware and consulting services for artistic and technological applications% MD5A:TT also supports the HI>i: pro$ec pro $ectt 6He 6Hey"o y"oard ard Ins Instru trumen ments ts >ir >irtua tuall :es :estor torati ation7 on7,, off offeri ering ng dig digita itall re resto storat ration ion of hist hi stor oric ical al #e #ey" y"oa oard rd mu musi sicc in inst stru rume ment ntss in mu muse seum ums% s%
Authors
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