Clever ... rather, Satie-like ... except up tempo.

Lanny

And that mp3 is based on a crappy midi file! Chilly's actual performance is amazing. In fact, the entire album Piano Solos is wonderful.

Lanny

This file is per your request:

Chilly Gonzales.mp3

I love this piece!!! This is a simple sounding tune but clever, brilliant, chord structure. Magical. Maybe some people don’t realize it, but to me, so nice harmony, masterfully made - a beautiful piece. It inspire me to make music. Thanks for uploading, Amen Ptah Ra

This file is per your request:

Chilly Gonzales.mp3

Thanks Amen!

According to my ear, the Standard/Pro rendition is indeed more musical. Though it is still present, the tone's "tinny" element of the notes' attack in Stage has moderated substantially. It sounds more natural and intentional.

Chilly Gonzales.mp3

When I play the Midnight Mood fxp, using Stage I hear a slight harpsichord tinniness to each and every note. I wonder if this is because the FXP contains parameters that can only be set in Standard or Pro. Would anyone care to record an mp3 file using Standard or Pro so we can compare? Perhaps I'll upgrade if this is the cause.

Here's a midi file of the Gonzales song Gogol:
https://drive.google.com/file/d/1nyG_Pm...sp=sharing

Here's are sound files using Stage
Wave format
https://drive.google.com/file/d/12TYBWN...sp=sharing
MP3 Format
https://drive.google.com/file/d/1WmH8HQ...sp=sharing

Thank you.

Here is an fxp created for edmond redd who provided the music excerpt to which the preset has been especially targeted: http://www.forum-pianoteq.com/uploads.php?id=1845

Thank you Philippe, awesome fxp.

@edmond, if you quit this thread, you'll see in the Menu a forum called FXP Corner, because that's where to post FXPs, and my 2 are there as U4_Player_Open_0+ and _1+, the second with an MP3 to show it in action.

Will give these a try once I'm back home.. thank you @Custral for your input (no pun intended)

good luck with the lottery, but joke apart, yes Gonzo is somehow unique. Hopefully soon, you'll be able to play his compositions, with a recreation of his sound

That is correct @Archikeys, it's a C. Bechstein upright, with a 'sourdine' (that's french, I am not sure how this would translate into english) pedal on. This pedal is found on some of the uprights (mine has it) and it is the kind of pedal, when pressed (and sometimes locked), put a linen cloth in between the hammers and the strings and would give this un-even sound.

Ah, I see! I've been wondering about that. When I get an acoustic upright, it'll be one of those! If I can manage to win the lottery first. You have to admit, he's got taste. I probably wouldn't be on this forum if I hadn't heard Solo Piano back in 2004, I find Gonzales very inspiring. The reason I'm following this thread is that I'd like to imitate that sound myself! I own all the sheet music he's put out.

But those are for my jukebox aims with Disklavier. If the idea hammer-weights makes for Volume diffs is right, your own playing will converse sensibly with your keyboard to make the rolloffs to correct the Disklavier Volume diffs unnecessary, so only the miking and GUI switchoffs should be needed, for your playing to match the sound-result.

And if so, it'll go a long way to proving the idea, so that'll be interesting!

(But also, this exercise may show that investing in Pro, with its wonderful Note-by-Note sound-editing capabilities, is a most useful investment. I'd not have developed that idea without the facility being available, and that's even if it should be quite wrong. Having Pro helps.)

Excuse my ignorance on this topic, but he uses the soft pedal a lot in most songs, and from what I've seen he plays a Bechstein with an unsual mechanism for softening the sound. It's a sort of leathery blanket that drops down inbetween hammer and string, or possibly just lands on the strings, when the pedal is pressed. Perhaps this can explain some of the characteristics of the sound? I don't know what this is called, never seen one in real life.

That is correct @Archikeys, it's a C. Bechstein upright, with a 'sourdine' (that's french, I am not sure how this would translate into english) pedal on. This pedal is found on some of the uprights (mine has it) and it is the kind of pedal, when pressed (and sometimes locked), put a linen cloth in between the hammers and the strings and would give this un-even sound.

I can't really tell if it is only an illustration or an actual 'removal', I guess @philippe would be able to tell

Btw, I didn't think Pianoteq actually took the front cover off the box when you opened up the top, I thought it was just an illustration in the front view of light coming in from above, since it fades the way it does... Covers are either on or off, not halfway dematerialised. Any word on this?

@archikeys : indeed, when you open the upright's lid on pianoteq it shows the front panel uncovered, and the resonating box too.

Recorded a few bars, and when compared the sound is still 'muffled'.
I am surely missing some point, and would gladly have few more tips regarding this thing,
your thoughts?

No hope of matching the sound you want from where I sit. But having the Upright, while never having looked at it, hauled it out now, with aim : get it sounding handsome.

I used Elmar Gasanov's MIDIs from the Disklavier 2009 Competition running through a MIDI jukebox to Pianoteq as my test-pattern, because he's a touch-master (handsome is as does). Plus since 'muffled' is the foe chose the Open Upright, as likeliest place to beat it from.

"Recorded a few bars" sounds like your project aims to do just that, you are finally to Play your compositions. My jukebox/testpattern setup differs from that, and I'll come to fixing that later (easy, even if you don't have Pro). Bear the difference for now. I'll post a couple of FXPs to show stages.

You'll see immediately from the first FXP I've used a very obvious stereo miking setup, just 2 mikes - less confusion (= muffle). Less obvious are Stereo Width now 3.0, Level Compensation now Off (let the mikes tell their own distance-story). Lid starts completely Open, and left it that way (no muffling, see what the graphic does as you play with Lid, excellent facilitation if it does what it depicts). That ends the miking stage.

Looking around the GUI, turned these Off : Limiter Switch, Delay, Reverb.

At this point, listening showed very top octave had right timbre for an Upright but badly exaggerated Volume, completely out of whack at F..FF. Shouldn't have been happening on the simple miking, so, a puzzle.

Floundering for any obvious identifiable cause, first chose Equaliser's Medium preset for no big change, then diving into Pro's Note Edit facility, first added a severe rolloff for the top octave of Hammer Hardness Forte, then added a less-severe rolloff for Hammer Hardness Mezzo. That was an improvement, so I next added a rolloff in Volume, without any clear idea if this was a reality for an Acoustic piano, but since it helped, left it in.

End of changes for the first FXP.

Now still wondering what acoustically-real factor could show up as *Volume", it occurred to me the Disklavier Elmar was working on might have had lighter hammers than Elmar was used to in the problem range, causing him to overhit there. That would show up to my ears directly as a Volume-problem, if the hammers in that range for the Upright model Modartt worked from didn't match Disklavier's, were heavier. So yes, there can be a real difference between the pianos that record versus the pianos that replay, just on account of hammer weight differences... which are exactly what's to be expected of pianos everywhere (including those the Disklavier contestants practise on).

So, I expanded the Volume range rolled off by twice as much for the second FXP.

Listening around to other Disklavier contestants tells me I've now got some sort of handsome result, might have overdone/underdone it, according as this contestant and that fights thru from his own piano into Disklavier, and on into Modartt's Upright.

So, that's my jukebox aim and problem dealt with. While you can simply forget about any rolloffs needing
Pro, your own playing will naturally come to terms with your keyboard, just stick with the miking and GUI switchoffs shown, about as vanilla as possible (BIG plus), and an un-muffled and very articulate product from Modartt could  result for you.

That's all supposing the idea about hammer-weights showing up as Volume effects is good. Can't see why not for now.