You may end in a very fine beautiful piano sound by by adjusting settings, but I don't match so well what would a add-on created by Modart to simulate a piano brand.
So if you are new in the forum, do not judge the modelled technology just by the setting we create trying to turn a piano brand into another.
A add-on it's a full analyze of a real piano, and it's made very carefully by Modartt.
Setting adjust it's a very personal subject. What is good for one may not be for others. If you are new here, get the demo version and start try yourself to find your own adjust to please your own taste.
Don't forget to read the entire manual.
]]>And as abiharbani said, we may find that we can only approximate the sound. If we can get close, perhaps the developers could then take it to a higher level, and, as abiharbani indicated, move it into a ptq?
Holding my breath, now.
]]>cheers
Hans
It occurs to me--should we ask that a folder be set up in the Files area for this, so we don't clutter the main area with samples and fxps as we go back and forth with visions and revisions?
Nic--Is that even possible? Pleeze?
And are there volunteers for this project? Can we work together instead of creating 5-10 entirely different instruments?
]]>The short recorded piece was just an improvisation I did for testing the mic. I was thinking about writing it down for a complete piece, but never got a chance to. Maybe next year.
]]>Your piano sounds lovely, and the recording exposes the sound well. I worry that you're right about the difficulties of using an existing instrument to create a sound that is so distinct. But could we try?
How would you feel about a test of sorts? If you posted a recording of one note at three velocities, we could see how close we could come to duplicating the one note. (These velocity recordings could all be in one mp3 or wave file, instead of in separate files, to save time.)
I understand a worry that could arise here--that I'll eventually ask you to do the same for each note, until you've created a multisample. That would be asking too much. But what might let us find a way to go forward--a method that would not demand too much of you but would let us have reference recordings? Could you, perhaps, eventually, over several weeks, record one note in each octave, at 3 velocities? Those recordings, along with the recording that you've already posted, might take us a long way. (You mention that the recording is a segment of a longer recording. I'd love to hear the entire piece.)
Several of us might go together on this project, trying different methods to achieve the sound. You would of course receive our attempt(s) at an emulation of your piano. We would all learn from these attempts: we would not be creating "a Steinway B." We would be trying to create this specific Steinway B as we try to recreate exactly the same sound for each reference recording.
On the other hand, if I'm asking too much, I certainly understand. Thank you for taking the time to post the lovely recording.
]]>I do own a steinway b though, and a humble (but good enough) pair of M-Audio Pulsar II mics. Here's a sample of a recording I did a while back: http://binokino.com/download/st_test.mp3 . Sorry the mp3 is a bit gritty. Let me know if this would be useful.
I haven't been using pianoteq for a while now and I just tried version 3.51. It's definitely much better than version 2.
]]>http://www.youtube.com/watch?v=MxUiy4TmjU8
"About The Piano:
The Pleyel Double Grand Piano is truly a unique musical instrument, as only a handful now remain throughout the world. Some 50 double grand pianos were produced in the Pleyel piano factory in Paris but, sadly, most of these were eventually destroyed in the mayhem of two world wars.
This type of musical instrument was originally developed by the company in the 19th century and the last double grand was said to have left the factory in around 1930.
The two keyboards are placed at opposite ends of this 2.5 meter long instrument that weighs nearly 600 kilograms. The brilliance of the design lies in the fact that, although the two pianos are housed in one body, both have their own sets of wires, pedals and mechanism. (With a special switch, the Pleyel design also makes it possible for one of the players to operate the pedals of the other if necessary, and this of course also works the other way round.) At the same time, the casting and the resonance - an important element of the instrument - are common to both. All the sounds produced are emitted in a shared space, the overtones enrich each other, and all of this results in a warm and wonderfully full sound.
The instrument embodies all that a piano duo works for, namely the confluence of the two parts into a unified sound.
The fact that, little short of a miracle, a double grand manufactured in 1904 - having escaped the catastrophe of two world wars - suddenly appeared for sale in Switzerland in 1995, brought a decisive moment in the career of the Egri & Pertis Duo. The instrument has consequently been in the duo's possession since 1996. "
]]>Speaking in Pleyel...
A interesting case of conjoined Grand-twins :-)
Very interesting, yes quite conjoined.
It sounds like they have detuned it quite a bit.
It must have two separate sets of strings because they each have pedals.
Now, how many soundboards does it have?
Wonder what it weighs? Wouldn't this be a killer to move, and it must be wicked to tune.
Glenn
]]>A interesting case of conjoined Grand-twins :-)
Some Pleyel grand pianos built around 1930 have very nice and long singing notes in the high treble.
Hmmm, I can't seem to find one in Pianoteq - any plans for a Pleyel in the future?
Glenn
]]>PS: Guillaume - can you tell me which specific piano you are referring to that has a ringing tone up to the last C? Thanks
Some Pleyel grand pianos built around 1930 have very nice and long singing notes in the high treble.
Edit (additional comment): for a given energy transmitted by the hammer to the strings, you can either:
- spend it slowly, and you have a long sound but not very loud,
- spend it fast, and you have a short but loud sound.
When played together with a real (acoustic) orchestra, power is the most important, thus the tendance towards short sounds. In the virtual world which allows additional amplification, there is no more loudness constraint, and thus long sounds are possible.
My larger worry is that with about 1000 people registered here, no one seems to have access to a Steinway B. Is someone going around destroying or hiding them? (All those piano-burning videos...Hmm...)
]]>The duration of the notes in the upper end can vary quite a lot from one piano to another, and I know excellent pianos with long ringing notes up to the last C. At the end, this is a matter of taste, and the important is that it sounds the way you like it.
I've never been very keen on the short percussive sounds of most pianos in the upper octave or so. To my ears these are not sweet musical tones, but more akin to a stick on a block of wood.
The Purgatory Creek mp3 demo of the Steinway B has this percussive sound. While it may be authentic, it isn't a sound I would try to emulate if I was designing a piano (in fact Gilles has done a pretty good job of it with his fpx).
The strength of Pianoteq is that I can design my own piano; I'm not stuck with the physical limitations of wood striking wood, and wood squeaking on leather.
Glenn
PS: Guillaume - can you tell me which specific piano you are referring to that has a ringing tone up to the last C? Thanks
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