Vibration sense, particularly for low-frequency sound, is independent of hearing, but works in parallel to enhance both realism and pleasure concerning performance on the Grand Piano. Also on PianoTeq, if you set it up right. For ideas, see these threads in which I have posted my own successful solution.
http://www.forum-pianoteq.com/viewtopic.php?id=2343
http://www.forum-pianoteq.com/viewtopic.php?id=2075
Nice meeting you on-line, and on your Website!
Thanks so much! Nice meeting you too.
]]>Rohade wrote:Btw Rachel you mentioned how other senses helped to perceive the piano as more real, in my case the vibration is needed and I'm not alone, some user on the forums, Ill look for the thread to paste it here later, found a solution. Some thing that he attaches to the Piano that makes it vibrate without altering the sound.
What's this about vibrating a digital piano? Mine vibrates quite a bit when I use the onboard audio, but when I use PianoTeq with headphones, obviously there is no vibration. It does feel weird. Curious about what you mean.
Vibration sense, particularly for low-frequency sound, is independent of hearing, but works in parallel to enhance both realism and pleasure concerning performance on the Grand Piano. Also on PianoTeq, if you set it up right. For ideas, see these threads in which I have posted my own successful solution.
http://www.forum-pianoteq.com/viewtopic.php?id=2343
http://www.forum-pianoteq.com/viewtopic.php?id=2075
Nice meeting you on-line, and on your Website!
]]>Chopin Ballade no 1 in G minor op.23
Thank you!:D
]]>Hi,
can someone tell me what is this music:
http://www.forum-pianoteq.com/uploads.p...derate.mp3thank you
Chopin Ballade no 1 in G minor op.23
]]>thank you
]]>Practicing with my new headphones last night was awesome!
]]>I'm on PT5 Stage at the moment, definitely upgrading to Standard soon. Thank you for the fantastic presets!
And I have to agree that I've been holding out on going fully digital until PT5. But the time has come when both fantastic sound quality and great playability are available in the same software.
]]>there is absolutly nothing to tweak in this perfect .fxp ...
it may be the only thing to do is just to editing a new velocity curve for VPC1 users... it's done.
(PS:Please,Rachel, accept my apology)
]]>Delt, by non-tonal I mean that it wouldn't follow expected melodic and harmonic patterns and formulas that people might be able to guess at. It would be more random in sound, kind of like avant-garde modern music.
interesting. Disclaimer: I am a lousy sight-reader. I have gotten a bit better over time, but I still have problems recognising chords, especially in differing keys. What has helped be, however, was looking at the structure of the piece, i.e., recognising patterns and repetitions. Of course being able to just be presented a few bars and play them without thinking would be a huge asset.
Currently I can do this only for rather simple pieces; as I said, I'm still rubbish at sight-reading. If anyone comes across a training software to practice sight-reading and accompaniment patterns (preferably in conjunction with a MIDI keyboard), I might be interested.
]]>Beto, I do think an ideal sight-reading system would consist of randomly-generated, non-tonal exercises on a computer connected to a midi keyboard. I've been meaning to research whether there is such a thing already.
Interesting... what exactly do you mean by randomly generated and non-tonal? Hopefully it would apply to people like me who don't have absolute pitch :3 ....or does the "non-tonal" part restrict your idea only to rhythmic patterns?
I consider sight-reading and music-learning to be two different skills. Some people are better at one than the other. Ideally, you would be able to both sight-read accurately AND use your ear and memorization ability to learn pieces and get away from having to look at the music quickly.
Agreed. Just like a very good storyteller could theoretically be illiterate. Or someone who has a hard time expressing himself verbally, could be able to write flawlessly in 10 languages.
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