Topic: Simulating the Player's Perspective - 'Wet' versus 'Dry' sound mixing
This is the second of three topics that I wanted to ask about, based on issues that have come up with my installing a PNOscan II MIDI sensor rail from QRS and a stop rail into my 1885 upright Steinway "F" which I bought from Craigslist. As noted before, with a working antique acoustic upright piano, I am trying to tailor the controls and sound output from the piano working with Pianoteq so that there is as little as possible difference between playing the acoustic piano as compared to playing one of the modelled pianos, from the player's touch response and hearing perspective. (So far, I have fooled a few non-piano players, but I haven't convinced any real piano players! It's not that I'm looking to deceive anybody, but just that the ultimate modelled piano should sound so real that the player should not be able to discriminate whether she or he is listening to the real thing or the modelled thing.)
2) "Wet" versus "Dry" sound outputs – Certainly, the reason that Pianoteq puts controls such as reverberation, delay, and compression in place in the "Effects" section of the program is to create a "wet" sound that better simulates that of a real piano. In my case, where I am trying to create the sound of a real piano from the player's perspective, not on a recording, but 'live' ( while the player is at the keyboard -- I have monitor speakers facing upwards towards the ceiling and smaller speakers facing the wall behind my upright piano, which means that my acoustic environment will create some of its own reverb and delay). I have been told that that I still need to add some reverb and delay to the synthesized sound in order to appear realistic (my 'piano' 's electronic sound is from speakers outside the case of the real piano, even if by facing upwards and behind the real piano they do add some of their own reverb and/or delay). Most of the time I end up with too muddy an effect, or too little an effect -- I clearly don't have the recipe for the 'special sauce' .
Does anybody have any useful experience and/or guidelines on simulating the real piano from the player's perspective with respect to these additional "mixing" controls?
Steinway project address: https://goo.gl/photos/mZ6UywoFz79DXAMr9