Piano(teq) xperimental

I understand that what interests and fascinates us here is how Pianoteq is so incredibly good at simulating pianos, to the point that we now perceive sampled pianos, those we used to love and use in a state of bliss, as something almost naïve.

That said, once the first (and second, and third, and…) impressions are behind us, we realize that we are at the controls of a spaceship which, yes, can take us to the moon of the most astonishing acoustic pianos ever achieved, but could also head in other directions. I, for instance, have only just started playing with the soundboard options, barely three parameters, yet they already contain a whole world in themselves, ranging from an infinite, or almost infinite, sustain (which in versions prior to 9 was achieved with hammer bounce) to its opposite: pizzicato/muted.

As for me, even though I am a pianist like everyone else here, I come from a background of working with synthesizers, which naturally draws me toward that world: exploring the new rather than imitating what already exists. Perhaps that is why Syngular throws me off a bit (where are the resonant filters, the sample-and-hold circuits, the noise generators, etc., etc.???).

But I am now beginning to see the world that opens up with physical modeling: the ability to travel between the “real” and the synthetic in a thousand different ways. Let’s see if those of us on the more experimental side here (and over there) get a bit more adventurous and polish this Pianoteq in registers that, I believe, are still quite unexplored (with the exception of the “weird” Steinway D patches, which I would also love to see applied to other models, especially Steingraeber and Kawai).

Happy tweaking!!