I thought I’d upload them again; many people might have missed them. Some uploads sometimes get buried when a lot are posted on the same day, and some people don’t check in that often.

Description about Henry Marcellus Higgs after the Miniatures.

Enjoy listening

Stig

https://forum.modartt.com/viewtopic.php?id=10074

I'm looking at this pedalboard, apparently it's a bit smaller than their classical organ pedalboards and only 25 keys, but also cheaper and more portable.
I would like to keep the door open for the possibility of music outside the house and outside churches. You never know.

Regarding quality, can I expect the same as their 30-keys pedalboards?
And the keyboards, will it be enough to plug them in a powered MIDI hub and the pedalboard in a Lexicon Lambda audio interface?
https://cdn.djcity.com.au/wp-content/up...bda_lg.jpg

Sorry for the newbie questions, I just don't want to order the wrong equipment.

Thanks.

One of my favorite piano VSTs, Piano in Blue has a warm and rich sound that is highly desirable for jazz and classical. I have successfully got a similar sound using the following settings:

Steinway B Warm
Hammer hardness: 0.50
Mic position A-B

Octave stretching set to 0 (for the low registers to thunder)

Don’t worry about things like string length cause they always make it sound worse it seems. And I recommend always using a separate reverb plugin as opposed to the one in Pianoteq; I use Valhalla Reverb.

Any questions? What Piano VST/sound should I replicate next?

Johann Sebastian Bach (1685-1750) was an outstanding German composer and organist of the Baroque period. He served as organist in Arnstadt and Mühlhausen, and from 1708 as court organist and chamber musician in Weimar. From 1717, he worked as court Kapellmeister in Köthen. During this time, he composed significant works such as the Brandenburg Concertos. From 1723, he served as Thomaskantor in Leipzig. In this role, he was responsible for the church music of the city’s main churches, directed the Collegium Musicum and composed many of his famous vocal works, such as the Christmas Oratorio.
The French Suite No. 5 in G major (BWV 816) is one of his most popular compositions for harpsichord. Bach composed this piece between 1722 and 1725 as part of a collection for his second wife, Anna Magdalena. The Gavotte is an elegant, light-hearted piece characterised by a distinctly cheerful and catchy nature. The movement follows a classical Baroque, asymmetrical two-part song form (A-B form) with repetitions, structured in 8 plus 16 bars. Typical of the gavotte, the main theme begins with a distinctive upbeat, which lends the dance its lively forward momentum.

Ruckers II Harpsichord: Pianoteq 9
Artist: J. Unruh

https://www.youtube.com/watch?v=0Oce-btoA7Q

All of our music recordings can be seen at:
https://www.youtube.com/@Praeludium.Opus1

(an incipient-atmosphere opening meaning just beginning, in an early initial stage, coming into existence)

Describing the opening  of this strange, unconventional, and modern "symphony" requires words that capture its unexpected sounds, free form, and unique atmosphere.

As a listener, you might try to focus on how it breaks traditional rules, the emotions it evokes, and the novel ways the instruments are used.

The timbre: Rough, sharp, metallic, or dreamlike….

The melody: Entirely absent, or leaping wildly between notes rather than following a graceful curve….

The rhythm: Uneven, surprising, jagged, or like a ticking clock losing its beat….

The structure: It does not follow the traditional classical form of four distinct movements; it might consist of a single long section or ten short ones….

The contrasts: Shifting from total silence to deafening noise in a split second…..

The technique:  Plucking strings, blowing into instruments without producing a musical note, or incorporating electronic sounds….

The mood: Desolate, chaotic, space-like, ghostly, or reminiscent of industrial machinery….

The effect: Does it feel like an auditory journey through an unknown world or a stressful metropolis—or perhaps just some distorted nonsense?Symphony I An incipient-atmosphere opening

Organteq Pianoteq + drums
Presets used: A Clockwork organ, Tubular Bells original, Baroque church, Syngular Bass Saw Flat, Classical Guitar Electrified, Syngular Pad Mixed Choir, Drums Deep Rolling Break Mac mini, Drums Thick Hats Break Mac mini, Orchestra Strings 27 Mac mini

https://forum.modartt.com/uploads.php?f...pening.mp3

All the best, everyone

Stig

I am an "early intermediate player" at the age of 53. Hence, I feel that my "mechanical learning abilities" are somewhat limited. One limitation appears when playing fast staccato runs. After some notes, they tend to turn more into legato. This appears particularly if the fifth finger is involved. Maybe this problem is not relevant for more advanced or younger players. So I am looking for your comments.

Although I now that this problem could be also handled using external tools in your midi chain, I would like to see a "staccato pedaling" functionality directly inside Pianoteq. Pianoteq already has a beautiful set of pedals of which some are not available in traditional pianos. The additional pedal could support fast staccato/staccatissimo runs. The functionality could be implemented as follows:

When this pedal is pressed down, Pianoteq automatically generates “note off” events for each pressed key (i.e. according to each "note on") after a definable number of milliseconds. For keeping longer notes/chords in the left (or right) hand while rushing through staccato notes with the other hand, there should be a definable split point above (or below) of which the function is active. It would be nice, if the number of milliseconds could be also “humanized”. It would be even better, if there could be a defined range of milliseconds in case this function is assigned to an “analog” pedal, so the length of the note depends on the way the pedal is being pressed (i.e. if the used hardware pedal sends not only a pressed/released signal but also a value). To make it perfect, there could be an additional parameter which defines the note off value for this automated release, so the release could be more less "hard".

I would like to have this feature for "cheating" in some classical material, where the result would be staccato while I really play some sluggish legato...

Would that be useful for anyone else, or is it just me?

Best regards,

   Pete

I've been using Linux exclusively for over 15 years, but I have found it difficult to get a stable sound from Pianoteq 9. I am using JACK, and the issue is a crackling sound while playing. To me, this is obviously an issue with audio processing not keeping up, and possibly causing extra latency (more on this later--needs to be better understood). My computer runs an Intel i7-4770 4-core (8-thread) CPU running @ 3.4 GHz, with 16 GB RAM, on Ubuntu 24.04, and the audio chipset is on the motherboard. This machine does no other tasks except process audio, and so it's a bit surprising that more tuning is needed, since this computer is no slouch! I followed all tips in the readme file, and have configured real-time scheduling for the audio user in /etc/security/limits.conf, and I've added my user account to the audio group. No issues there, since that fixed the error messages seen on the command line and reduced the latency to something that sounds fairly good..... but it still crackled.

After searching for better help, I found some discussion on this forum around lowering the audio buffer size from the default 256 to 128 to reduce latency (hoping this will also reduce the crackling), implying buffer size can be adjusted from within Pianoteq. This is not the case, however, since Pianoteq does not allow this value to be adjusted from within. After a lot of reading and fighting, I was able to adjust the buffer size from QjackCtl. So I adjusted the buffer size down from 256 to 128, which should reduce the latency from about 5 ms to 2.5 ms, however that resulted in a LOT more crackling. I don't really want to increase the latency, however I then increased the buffer size from the original 256 to 512, which increased the latency from 5 ms to 10 ms ... AND THAT REDUCED MOST OF THE CRACKLING! I should also note that I have the sampling rate set to 48 kHz.

So here is the first important takeaway from this discovery, which is not pointed out very well in the readme file or help on the forums: Buffer size needs to be adjusted to find a compromise between latency and crackling; a larger buffer size will reduce crackling at the expense of increased latency, and a smaller buffer size will decrease latency at the expense of more crackling. Generally, <= 10 ms of latency is acceptable, but > 10 ms is where it really starts to feel laggy.

So I have my buffer size set to 512, which gives me 10 ms of latency with very little crackling, but if I want to eliminate all crackling entirely, then I set the buffer size to 1024, which results in 20 ms of latency, which feels terrible.

So that brings me to my questions (for anyone who still cares). With 4 cores (8 threads) running at 3.4 GHz, I think I should be able to reduce my buffer size back to 256 with 5 ms latency without crackling.... so why is this a problem? I don't see how this software performs well on lesser CPU specs, but yet I am sure it does (too many videos out there where I hear no crackling at all). What is being over looked here? (I have also run the cpufreq-set command to put all 8 cpus into performance mode; this made no perceptible difference, as expected, since these CPUs are already powerful and doing no other tasks).

Any Ideas? for those in the know, please share your knowledge and experiences! THANKS!!

-Rob

https://youtu.be/ehwRWIe9Wrk

There are many - it seems you can't load all at once to choose from. Is that right? It's just one at a time?

And they seem to be labelled L and R, left and right presumably, but I don't see how you would load both?

If you can make an offer that is substantially below the current 140€ Price Tag when including the 29€ license transfer fee. Reach out to me with a forum mail or respond to this post.

in this video I'll play Sinfonia No. 14 in B Flat Major BWV 800 by J.S. Bach  is a particularly dense contrapuntal piece. Two motifs of the main subject are of special importance: the descending fourth of Bƅ to F, and the emphasis on the rising third (end of (1). These motifs are repeated and constantly operative in the sinfonia. The play between them is enhanced e.g. in the lower voice of (5) and of (17-21). Here also, as in all the sinfonias, there is an episode before the third entry (lower voice, 4). The order of entries is slightly unusual: middle, upper, lower. The episode is built out of the material of the ending of the first subject (middle voice, the second half 2). At (12) there is a beginning of a dense streto, and although this is not strictly maintained in the continuation, the play of copies between the voices in (14-16) is not less impressive. At (17) something like a new dense streto begins - it is not a strict one even in the upper voices, and the lower one deviates even further and underlines the motif of the descending fourth of the second quarter in.
Enjoy your listening Bach from Italy

Carmelo
This video was recorded with these setting:
Played on Yamaha P125 piano stage, Tamara House.                                                                                                            Video Recording Samsung galaxy A54.
VST: Bösendorfer  VC 280 Pianoteq Stage 9
Editing: Wondershare Filmora
https://youtu.be/VckCyUUsbxA

https://youtu.be/KttLt-5HnfY?si=OmwcIsPUKIqTwLzj

https://forum.modartt.com/viewtopic.php?id=12870

How do you use an external reverb with Pianoteq?