Possible Fazioli Concert Grand FXP

Since you employed my PtqSpecProf software (thanks!) I did the copy/paste and rendered the velocity 127 scale for you:

http://www.forum-pianoteq.com/uploads.php?id=1847

I rescaled the midrange since some notes were off, and took off the muted notes, but nothing besides that. The main difference is in the attack of your samples that spectrum profile can't change, I find, so what you get is mostly a more metallic and and somewhat brighter Bluethner...Hope you like it

Here's the kickoff thread for this software http://www.forum-pianoteq.com/viewtopic.php?id=1634 . Some pertinent info concerning Macs there, plus other maybe-useful stuff.

I have a question about this step ---"3. Use the button to copy Midi note 24 edits to the clipboard. In Pianoteq create an appropriate control point and paste." --- from the descriptive PDF in your Google site.

What may "appropriate" mean here?

Here's the puzzle : the starting note number is "set" at 24; the MIDI file of notes is either 100 or 85 long (if SevenOctaves100) or perhaps instead 127 or 85 long (SevenOctaves127), as the case may be.

Motivation is, a Steinway has 88 notes, and I have a well-sampled Steinway plus an 88 note in the D4, both with A-1 as the bottom note. Should tend to a good result.  So how do I interpret "appropriate" where my starting note is to be A-1? (and "24") ?

(BTW, in the same collection I have Fazioli and Bechstein,)

ADDED: ran the 2 MIDI files thru Pianoteq, and clarified the question - both begin at C0 and go to B6, so 84 notes each, and "appropriate" seems to be C0. Now, what becomes of the missing A-1 thru B-1, plus C7? If nothing, fine, I guess they can be extrapolated (and aren't used much).

Must say, having listened to Fazioli for once, playing familiar Disklavier MIDIs, I dislike its f..ff range very much. Detailed sure, but so overlaid with KLANG it's oppressive. The Steinway and Bechstein are much suaver. Three types of miking are available in this collection, 2 matchable in Pianoteq - Player Perspective (stereo) and Side (mono, actually in the crook of the case, Fat Lady position).

MORE: ha, 127 and 100 refer to the maximum MIDI output value - nomenclature all wrapped up!

Aha, double-click, I'd been using single (to paste a single freq from thread-originator's textfile), and getting nowhere.

Thank you too for the now-positive Mac update, plus operating Mac-wrinkles. I have a strong modern Mac, still boxed, against the day clear reasons emerge for unboxing, and this is one. Clarified too is that the "24" sits in defined MIDI space (had no idea but now I have, it's clear why you employ it, it's simply consistent with the wider convention).

I think that rather than rawly hijack the thread with a Steinway emulation on D4, better to open up with a Fazioli on Bluthner.... and THEN do the Steinway. After all, using a parallel thread would only harmfully hack apart the unity-of-topic brought here by use of your software. Better one thread.

Won't be immediate, pressures.

No need to type in all caps.....what do you mean by "install". Are you having troubles installing java, or are you unable to run the executable?

I have no plan, aroused interest comes from giving this very facilitating software a romp, in what's the most  laborious Pianoteq dialog of all, to use to its full-scale potential. Gilles says the samples' attack portion is a blind spot for the software, so emulation can only go so far, but let's just see how far that IS.

My info on the pianos sampled is the barest, they are a "Steinway D"; a "Bechstein semi-concert grand"; a "Fazioli F308", which is "10 foot 2 inches long". Elsewhere these are respectively classified as "American", "German" and "Italian", and as "carefully-prepped", so that's where they're from and they've all been working pianos. The precision evident for the Fazioli and Steinway is impressive for all that. Can't say the same for the Bechstein, but then I wasn't listening for such things, too charmed already.

ADDED: just caught your joke. Well yes it's tautologous, but then, it also has the best chance of succeeding, thereby!

Plus more seriously (and supposing Gilles' blind spot in attacks weren't there, is perfect), the killer feature might turn out to be providing a shootout between modeled and sampled - see which is still standing....on numeric evidence. Think, with Gilles' method Pianoteq is aleady sampling a model it owns, at one MIDI level with all SMF other levels possible. Then extracting the parallel level(s) from the sampling-competitor, then filtering apart the harmonics into their numeric presences.

That's inspection, of evidence, in numbers, where we HAD just listening and opinion. Leaves PTQ at a minimum in quite some position of judging between competing sample sets, let alone those from its own models.

" I could run both emulation and Fazioli at once"
That suggests to me that you could subtract one from the other.... but I may have read it wrongly.