Pianos you want Modartt to model? (Page 7 of 10)

Since Modartt simply has U4 as the catch all for the generic unbranded upright piano sound (with no brands implied) it could be interesting to see how they would differentiate a solitary upright piano if they were to keep the generic upright piano pack.
Maybe they could have a premium upright pack with say a couple of other top notch modelled high end uprights?

I second the Estonia.  Would love to see a Mason & Hamlin modeled as well as an Ammer, Neupert, or similar "revival" harpsichord.  It would be fun to play with the stops and different combinations.

Is there Fazioli concert grand on horizon? Or, Bosendorfer 280VC?

Osho

(Again) For the development of a historic imperial Viennese ptq instrument (prior to the Yahama period but subsequent to Besendorfer ...)

I would have liked to resume (or see others resume) a bosendorfer fxp project by taking advantage of the new perspectives offered by the morphing, the new string / soundboard modeling of version 7 and its wonderful NY Steinway.
When version ptq 6.5 arrived, I had recorded our family Bosendorfer 200 note by note with 2 small Rode M5 mics to semi-automatically reconstitute a differential spectrum profile compared to that of the already customized Bluethner ptq model. by sskuk1. Before building the differential spectrum profile, I reduced the string length on the bluethner from 2.8 to 2.2m to get closer to the bass strings of a 2m Bosendorfer. However, the sound obtained was far too acidic compared to that of the acoustic instrument. I had been helped by Qexl's advice on adding a slightly more woody stain, but still retaining excessive acidity in the presence of high velocity (f, ff and more). Since then, 2 years ago, I re-recorded this acoustic piano note by note with better microphones, tests up to 9 simultaneous microphones, with the best (or less bad?) Results with 3 microphones, 2 small cardioids SE-8 diaphragm in the curve, under lid and a large diaphragm microphone Rode NT1000 at the piano tail also under lid. I have not yet reconstructed a spectrum profile with this last recording because I am now hesitating on the procedure to follow for this very tedious process (level to be calculated for 88 notes with 20 to 100 partials, by choosing an fft window and a sample length of variable length depending on the pitch of the root ...), and on my understanding of the spectrum profile functionality of Pianoteq pro. I thought I understood (maybe incorrect?) That the stage of the modeling to which the Spectrum profile of ptq is applied corresponds to the initial conditions of the sound of a string struck at a level of type ff approximately (mid = 100) , but the ptq spectrum profile unfortunately does not act only on the sound spectrum of the resonance of the string but in appearance ?, also on the resonance noise of the hammer hitting the string and its retransmission to the soundboard, under conditions very different from the capture of the equivalent sound by a microphone, even a few tens of cm from the strings. The microphone also captures, even under the lid, part of the reverberated sound ...
When the optimization has been obtained at a level mid = 100 approximately for a given note, it should ideally be able to recalibrate this spectrum profile at least at the mf and p levels by adjusting the hardness of the hammers. For the operation to be at least partially automatable, it would be necessary to have a means of playing and capturing each of the notes at a constant level ff, mf and p on the acoustic instrument (impossible manually, especially with the pianist with a very irregular touch that I am) ...
Following this observation, I have the impression that it remains necessary to readjust the first harmonics at the ear level ff in depth, and even beyond, especially for the low strings, then to play on the hammer hardness to adjust the mf then p levels note by note, an even more tedious job than the semi-automatic recalculation of the level of the partials of each note ... (unless the Modartt team proposes a different approach to using Pianoteq pro ?)
In this context it is very tempting to wait - more comfortably - for the specialists of the Modartt team to come up with a new model, but will it do so in the case of Bosendorfer without benefiting from an explicit authorization from Yamaha? For me, it is a pity that Modartt does not do this under another instrument name, such as a generic Viennese model name, as is the case today with many digital instrument manufacturers (the case for example with my Casio GP500 keyboard for which I greatly prefer the sounds offered by Pianoteq).
In the specific case of Bosendorfer instruments, I would personally prefer the sound of a historical instrument such as the imperial model before standardization by Yamaha, to more recent models like the 280VC for my sensitivity, a little too sanitized ... In this regard, sorry for my recent fxp morphing draft which is much too garish and with bass not representative of the instrument I would have liked to go to ...

Bruno

Even if personally, I would prefer an Imperial Bosendorfer,
Fazioli would be an excellent choice, in my opinion probably more rewarding than Bosendorfer for Modartt in terms of marketing positioning for this type of virtual instrument...

Bruno

Of those my guess is that the Fazioli has the best chance of ever happening due to the commercial links of the Bosendorfer (Yamaha)  and the Kawai. Both of those linked with keyboard manufacturers with their own virtual instrument technology.

Yes, Fazioli will indeed be great.  Recently, I heard a recording of Goldberg Variations by Angela Hewitt on youtube (which unfortunately is no longer there).. If Pianoteq could get that sound, it will be blissful! .

Osho

Hi everybody,

Thank you for posting in this thread.

Although we cannot provide any details, we (Modartt) are listening to all requests. Please keep them coming.

We hope to offer more piano models in the near future.

Regards,
Niclas

Haha, excellent Beto-Music, you bring joy in our lives

This last video is fascinating to watch on many different levels, not just for Liszt's 1846 Boisselot. Thanks for posting it.

And why not a French piano. There is a manufacturer that Philippe certainly knows. The "Chavanne" pianos near Toulouse. So why not make one of the last French manufacturers known.

"The production of Chavanne pianos ended in 2020 "
"currently we exclusively produce our high-end French-made silent system "

It sounds as if they are finished?
Did the pandemic finish them off?

Or is this a bad translation,  because they are merely closed down for lockdown?
It does not read that way.

Presuming the quality is there it would seem a shame to only increase the profile of a company by modelling a good piano immediately after the company went to the wall.

When I read that, my stomach fell to my knees as I thought to myself there goes another great company. Modartt should still model this company's pianos anyway. We are lucky we have the resource whe have because no one wants a real piano anymore it seems.

Really fascinating!

After hearing a few audio examples found on his site and on the web it seems as if Stephen Paulello is indeed designing Pianos never heard before.
The deepness and the clarity of the whole bass range impress me a lot!

Reading about what he is aiming at in the esthetic and musical areas, I can't prevent myself to think that Pianoteq is predestinated for such aims and probably has most of the necessary tools to virtually achieve them.

This is from Paulellos site:

I now would really love to see an "Opus 102" in Pianoteq 

@ YvesTh: Thanks a lot for the link

EDIT:
On this site:
"https://www.francebleu.fr/infos/culture...1464277921"
beside of an audio demonstration of the "Opus 102" one can also read about Stephen Paulellos company:

A (poor) translation:
A company which has a new jewel in his catalog since december 2015: the "Opus 102", a mighty grand piano three meter long aimed to big concert halls. This piano has already been tested at the "Philharmonie de Paris" with is 2400 seats. Below 1000 seats this kind of piano is not appropriated any more says Stephen Paulello: "when a pianist plays works with many notes, the hall saturates due to so much sound"

SECOND EDIT
Here are a few videos featuring the "Opus 102" piano.
I must say after hearing some more pieces I find that it takes some time getting used to it but nevertherless it is a very interesting concept.

Debussy: La cathédrale engloutie
https://www.youtube.com/watch?v=ssSVwcjxb5U

Fauré - Nocturne n°6
https://www.youtube.com/watch?v=o-U-6PdwX0w

Chopin nocturne op. 27 n°2
https://www.youtube.com/watch?v=SxkRzsaYRYk

The Stephen Paulello Opus 102 sounds nice in this video--

https://youtu.be/5Y9sVbzxd_M

--

Thanks for the information !

But to me, it needs more warmness. Especially for pieces like that. Just my personal taste...

One month ago Niclas said :

"...We hope to offer more piano models in the near future."

I hope the near future will be soon...

I think you read way to much into that post 

And we could name it "Naked piano"

I’ll second that.

This one:   Shigeru Kawai SK-EX

I'm new to the forum and Painoteq, just purchase 7.  Pianoteq has/is helping me to transform my (midi keyboard)  playing!

I see other requests for this- Just watched this video of Sangah Noona  -very nice indeed!

https://youtu.be/WNafwhanuzw