I continue to be captivated by the sounds of Hans Ruckers II's harpsichord from Pianoteq. In this recording, you can hear its various sonorities: 8' I+II, 4' Lute, 8' I, and finally 8' I+II + 4',
Beautiful! I like the variety of timbre you have used for this "Romanesca", thank you rumburak!
]]>I made an interesting discovery this evening. I took a few minutes to finally get back to this thread and get my Rucker's preset groomed (more than it was) for upload. In the process, I realized that--at least for the Rucker's--PTQ has a damper system that is identical to its piano models in operation on the harpsichord by default. This is probably the least realistic function of all piano the functions for a harpsichord. While I theoretically welcome the flexibility that it offers for sound design, tone creation, and instrument invention, that is absolutely not something that should be there/turned on by default in the factory presets.
I wonder how much that factor alone is what the OP is bothered by. I have tried to "turn off" the damper system in the preset. I believe that it's best to set Last Damper to 0 and all but turn off sympathetic resonance (I've found around 0.15 works best). The problem is that the default engine has the sympathetic resonance that you'd expect from a piano's full trichord scaling, which doesn't remotely apply to the harpsichord, and thus the sound without dampers becomes far too wet and reverb-like. Such resonance should probably be kept on at some level, but definitely not at the default one. So turning off the dampers and decreasing the sympathetic resonance, seems to really let the harpsichord act more like it should.
I'm now very curious how OP and others feel about the PTQ harpsichords when the dampers are removed from the equation. For what it's worth, my still very work-in-progress preset is in the FXP corner now. It feels closer to the samples provided, but not quite there yet. I'll continue working on it as I have the chance.
Have just today purchased Pianoteq for Dorico. It's fabulous.
I am a harpsichord maker and player in Australia. Consequently very critical and sensitive. I'll get the harpsichord/s and get back with my opinion! Harpsichord is a very difficult instrument to record well and I imagine creating samples is also very difficult.
Ooh I'd be interested in hearing your thoughts on how the various models compare. Do let us know!
]]>I am a harpsichord maker and player in Australia. Consequently very critical and sensitive. I'll get the harpsichord/s and get back with my opinion! Harpsichord is a very difficult instrument to record well and I imagine creating samples is also very difficult.
]]>...After some search I found out that the "Viscount Sonus 60" uses a "Real Audio Rendering" solution to create reverb.
As I understand it, it seems more sophisticated than Convolution Reverb.
As I mentioned above, the Pianoteq connected to the Viscount's audio system sounds spatially better than the same sound recorded in two channels and played through two computer speakers (standard stereo).
This is most likely due to the technology you mentioned and the thirteen speakers arranged in different parts of the case.
My new recording using three open PIANOTEQ programs - each separately for the three keyboards.I placed the lute on the lower keyboard. On the upper keyboard - the 4-foot voice.
]]>I don't have a single method for creating the acoustic space for my recordings. In fact, it's a big problem for me, and I'm not always satisfied with the results ...
Thank you for your answer.
As i really like the sound of the acoustic spaces in your videos I had a hope for an easy solution
I now understand that you take a lot of care to create them.
After some search I found out that the "Viscount Sonus 60" uses a "Real Audio Rendering" solution to create reverb.
As I understand it, it seems more sophisticated than Convolution Reverb.
Thanks for your thoughts.
]]>Out of curiosity would you mind to tell which Reverbs you use?
I don't have a single method for creating the acoustic space for my recordings. In fact, it's a big problem for me, and I'm not always satisfied with the results.
In the recording above (Froberger: "Lamentation" FbWV 633), I use the built-in reverb from a Viscount Sonus 60 organ. In the Pianoteq, I turned off the reverb but left the delay on.
In other recordings, I use different combinations. I often add a bit of reverb from a video editing program on my computer to the already recorded reverb, because the sound carries differently when I play the instrument in the room than when I listen to the recording through speakers.
Generally, the sound directly from the instrument (built-in amplification in the Viscount) is better for me than from professional (Yamaha) monitors on my computer.
This is a big problem for me, and I worry that my recordings don't always sound good to the listeners.
Sometimes I record audio with the reverb completely turned off and then add it during video editing on my computer (using DaVinci or Vegas). However, playing the instrument "dry" (without reverb) is more difficult and less enjoyable.
DaVinci Resolve has a very extensive section for creating room acoustics. Unfortunately, the results are rarely satisfactory.
]]>In addition, I would like to draw attention to the equally important issue of room acoustics. It is an important element in sound creation and is also crucial for sound recording.
Out of curiosity would you mind to tell which Reverbs you use?
]]>For your information, the lute sound can already be produced using the "Buff Stop Pedal" :-)
Thanks for the info. I tried it. It works, but you need to set the MUTE parameter appropriately.
A lament for the painful death of His Imperial Majesty Ferdinand III, played slowly and discreetly. Year 1657
]]>Modartt harpsichords definitely lack a lute sound. I'd like to see that tone in new versions of the Pianoteq program or plugin, so I don't have to use sampled instruments.
For your information, the lute sound can already be produced using the "Buff Stop Pedal" :-)
]]>The difference between Pianoteq harpsichords and acoustic instruments lies primarily in the keyboard mechanics, which significantly impacts the playing experience.
In addition, I would like to draw attention to the equally important issue of room acoustics. It is an important element in sound creation and is also crucial for sound recording.
For comparison, I've included a series of my recordings made on various Modartt harpsichords:
https://youtu.be/Yo9GiYi33SI?si=WateDA0ehlBdGij4
https://youtu.be/MnJxZCPbCVI?si=m9KI2zm2dA30g9VI
https://youtu.be/aBjLBFx_Ugc?si=Xewzzbw0k3NjTuhu