Glenn, you are right, the hammer placement on the strings is critical for how the overtones build up. Concerning pitch being higher at the beginning as mentioned by feline (likely more on guitars than pianos), there might be several reasons for that, among which the initial overload with a hard pluck.
I tried the new C3I model tonight - it feels like my GPP3 continuous sustain controller works a lot better on this longer sustain...
the sustain seems better controllable now - especially because of the longer sustain so it seems...
Great job!! Feeling more natural again!
cheers
Hans
was just listening to it again - seems to have a much 'richer' sound right now!
cooL!
Jake Johnson wrote:I have to ask: Is the two stage decay just the result of the shift from the unisons being in-phase to being out-of-phase?
The two stage decay can be observed in the simplified case of two strings vibrating in the fundamental mode. Things get more complex when you consider three strings and all their overtones. Then it’s not a two stage decay but rather a multiple stage decay.
Simplified? That must be relatively speaking .
I had wondered why AAS's Strum Acoustic modelled virtual guitar did not have a 12 string in it. That's why I don't have it. What I see when tuning up with Strobosoft's (virtual!) tuner, is that in a real 12 string the courses have different amounts of inharmonicity, depending on the physical structure of the strings. Being able to see (and hear) changes of 1 cent is not so helpful to tuning up when the harmonics can be 10 cents away from the fundamental, and the fundamental is "wobbling". Guitarists, of course, can pluck the strings anywhere along the length, and use different things to do that, but an acoustic 12 string remains a sorry business. It's lucky that pianos do not have a lever to move the hammer bed around, and a dial to bring different hammer materials into use.
Back on topic, it's nice read professional pianists' views. I note from its reviews that PTQ has achieved a lot of interest from serious players (the present writer not particularly included). It does not, and should not, follow that the "seriousness" of a product is related to the perceived "seriousness" of the decision to buy the product. Anyone thinking that should at least never buy coffee at British motorway services.
I would like to get the same extra sustein for the Erard add-on.
I would like to get the same extra sustein for the Erard add-on.
Yeah -- sorry, guys, but we're going to need longer-sustain versions of _all_ the piano models!!! An Erard or Bechstein with longer sustain would be positively _delicious_!!!
(I'm begging you -- _please_ do an upright [or several] soon!!! And let's be able to remove the lid _and_ lower panel [around the pedals] on the "Sound Recording" setup.)
:-)
Sorry for resurrecting an old thread, but has the longer sustain issue been integrated into the default instruments by now? i was downloading FXPs and one of them required the C3ls and it took me a while to locate this... and i found it was in the legacy area. Does that mean the built-in C3 and the others are now using proper sustain? As a lover of the sound of grand pianos, i have to say that the long sustain is one of the nice things about sitting at one playing it... i have to agree that PianoTeq should cater to realism as much as possible, not to non-acoustic players (who should adjust themselves, not ask PianoTeq to be adjusted).
Yes, the current C3 has inherited from the longer sustain of the C3ls, so the latter is not really usefull anymore. Concerning the other instruments, their sustain corresponds to the original instrument they were copied from.