johnstaf wrote:I'd love to hear the Bechstein as well with this music. I know it's from 1899, but it's still a modern piano.
It’s true that the Bechstein 1899 grand piano has a very modern sound, although there is a difference when you look more closely.
Here is a version of the test with the same configuration of microphones, in the same concert hall.
Thank you so much for this! It's wonderful! I've been offline for the last while after an accident while cleaning my computer :-) What a wonderful treat!
That soft yet slightly percussive "ping" is still found in some modern Bechsteins, but it is much less obvious.
I bought a new and more powerful computer, but when I fix my old one I think I'll leave it permanently on top of my digital as my Pianoteq station. It's hard to imagine I didn't like Pianoteq until very recently. It's as if 6.2 tripped a switch in my brain.
]]>And of course, certainly, the clavichord (at about age 10 he moved in to his older brother Johann Christoph Bach, he taught him how to play clavichord).
]]>Groove On wrote:Honestly, it's a good time to be alive and playing piano! Thank you Pianoteq and team!
Isn't it just!
.
It sure is...loving Pianoteq!! And this forum.
Honestly, it's a good time to be alive and playing piano! Thank you Pianoteq and team!
Isn't it just!
]]>I'd love to hear the Bechstein as well with this music. I know it's from 1899, but it's still a modern piano.
It’s true that the Bechstein 1899 grand piano has a very modern sound, although there is a difference when you look more closely.
Here is a version of the test with the same configuration of microphones, in the same concert hall.
]]>I'd love to hear the Bechstein as well with this music. I know it's from 1899, but it's still a modern piano.
don't tell Beto-Music that! https://www.forum-pianoteq.com/viewtopi...11#p954611
]]>NormB wrote:Dear Pierre,
First of all, thanks greatly for the fine comparisons.
If you are going to repeat this exercise with different music, could it be something with lots of chords and multiple note combinations? I find that DP manufacturers like to show off these 'one note at a time' examples--and I suspect that is because their DPs face far tougher challenges when ten or twenty notes are on the board at the same time...
Actually, DP manufacturers used to play loud pieces with quick notes because they masked certain weaknesses in their sound. And now when they pick a slow piece, with long sustained notes, it's to show that they're not afraid to use such exposing music for their sound engines.
If you have a porridge of notes, it's harder to clearly hear each note and to hear each detail.
I also think that loud pieces tend to mask the weaknesses of the instrument (when there are any) because they usually distract the listener from the interpretation. As far as Pianoteq is concerned, I can also say that the biggest challenge is in long helded notes and slow tempo pieces, because that's where you can demonstrate the realism of the instrument, the brain having all the time to evaluate the difference with an acoustic piano.
That said, I think it's also important to show the instrument's capabilities with pieces including more chords, bass and treble notes.
We are therefore preparing new tests that we will publish soon.
Held notes on DPs force interactions between notes that are sometimes quite unpleasant, yet of course won't be heard on 'single note' recordings. As a case in point, PT 6.2 somehow has reduced what I can only characterize as a kind of deep background IM distortion (it probably isn't that, really), as compared with 6.1
I imagine that only an IMD analyzer could tell us the truth, because many things can give this impression.
]]>Pieces with held notes and fast treble sequences are hard to "get right" on many DPs, including Pianoteq until version 6. Back then I realized that playing pieces like Horace Silver's "Song for My Father" made a muddy mess of things on most of the Pianoteq instruments of version 5, whereas on my acoustic piano the attack of each new note could be heard clearly against the decay of the the prior notes. To me, this it the type of piece that separates the realism of good digital pianos.
This represents my feelings also. Held notes on DPs force interactions between notes that are sometimes quite unpleasant, yet of course won't be heard on 'single note' recordings. As a case in point, PT 6.2 somehow has reduced what I can only characterize as a kind of deep background IM distortion (it probably isn't that, really), as compared with 6.1--but I only notice the difference in a big way when using a lot of sustain and a fair number of played notes.
]]>mcoll wrote:Wow, thank you for the very interesting comparison, Pierre!
Thank you! and sorry, I’m Mickael… Pierre Wolf is the pianist I work with for recording tests.
Sorry, in that case, thank you Mickael! (and Pierre)
In the second piece it's harder for me to pick a favorite. I like how the clear sound of the Steingraeber fits the piece. And I also like the Bluethner quite a lot. However, I'm thinking that there aren't very loud notes to hear the bottom end of the pianos, so I don't really know what to expect in that stage simulation.
Nonetheless, the idea is wonderful and the sound is indeed fantastic through all four.
Dear Pierre,
First of all, thanks greatly for the fine comparisons.
If you are going to repeat this exercise with different music, could it be something with lots of chords and multiple note combinations? I find that DP manufacturers like to show off these 'one note at a time' examples--and I suspect that is because their DPs face far tougher challenges when ten or twenty notes are on the board at the same time...
Actually, DP manufacturers used to play loud pieces with quick notes because they masked certain weaknesses in their sound. And now when they pick a slow piece, with long sustained notes, it's to show that they're not afraid to use such exposing music for their sound engines.
If you have a porridge of notes, it's harder to clearly hear each note and to hear each detail.
First of all, thanks greatly for the fine comparisons.
If you are going to repeat this exercise with different music, could it be something with lots of chords and multiple note combinations? I find that DP manufacturers like to show off these 'one note at a time' examples--and I suspect that is because their DPs face far tougher challenges when ten or twenty notes are on the board at the same time...
]]>Edit, sorry Pierre, I mean Mickael.
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