PIANOTEQ gets better and better! (Page 1 of 2)

All of the pianos can now sound very different with the two new resonance controls. The upright may go through the most startling transformation.

The Res Dur sets the duration of the resonances for each frequency, hence the duration ratio versus frequency graphic. For example
Resonance Duration = [120, 1000, 6000; 0.50, 1.00, 2.00]
will make resonances shorter at 120 Hz (duration is multiplied by 0.5), leave them untouched at 1000 Hz and longer at 6000 Hz (duration is multiplied by 2).

aWc wrote:

I see! And I found out that by right clicking, the curve created in Res Freq can be copied and pasted to Res Dur, excellent. However, wouldn't it be better to have that curve copied by default to the Res Dur screen, where it can be further edited?

Philippe Guillaume wrote:

The Res Dur sets the duration of the resonances for each frequency, hence the duration ratio versus frequency graphic. For example
Resonance Duration = [120, 1000, 6000; 0.50, 1.00, 2.00]
will make resonances shorter at 120 Hz (duration is multiplied by 0.5), leave them untouched at 1000 Hz and longer at 6000 Hz (duration is multiplied by 2).

These panes control completely different things--the amplitude of frequencies and the duration of frequencies. There is no reason to assume that you would want the loudest freqs to last the longest. In other words, there is no reason to have similar settings in both panes.

I often have conversations with myself.  Do I get into arguments?  Have to say, not so much.  (Smile.)

That way, we CAN see the other of the 2 curves as we tweak them (maybe red or blue) - and maybe a tiny button to "apply" the Res Eq curve to the Res Dur panel and vise versa.

Well since nobody from MODARTT is addressing the apparent problems now with the interface, I’m having to raise the question, “Was PIANOTEQ v.6.7 rushed haphazardly, out of concerns about possible viral infections?”

Please reserve your usual honky dory response for later.  You know when you’re prone to give it.  What’s important is people as end users need to know about matters that could affect them personally, and, indeed in life threatening situations.  Especially today when, many youth were led blindly to believe under the assumption ‘going viral’ is a fad that makes you likable among your peers.

A very small few become informed by an outbreak of really responsible adults.  Those who will openly, admit their mistakes.

Feel free to quote me.

The new resonance refinement is genius.

So many ways it helps thing.. for anyone beginning to noodle around with it.. think of it as "shaping" the resonance.. increase the "Sympathetic resonance" slider so you can more clearly hear the resonance while shaping with the new tools. (you can adjust overall sympathetic resonance slider later to taste of course).

Philippe it's perfect, to help divorce resonance from the effects of reverb more surgically.

For people who don't like a lot of reverb (Player Position for obv. example) now you can switch off reverb like you may be doing already but now, you can adjust the 2 new resonance curves to give more control to how the room fills.

This absolutely allows real room resonance shaping - not to mention pretty much ultimate control of course for all others use cases (big implications for all my old favorite piano presets, all will get a reshaping).

For example.. some settings with mics at some distance from the cabinet can logically carry more reverb (it works like IRL) - we of course experiment with lowering/altering reverb settings including tone to attenuate or sweeten it, as expected (compared to close mic settings, where you may need reverb much higher if you want it noticed).

It's easy for someone not used to these kinds of controls to take time to appreciate it.. so here are 2 from my recent shaping here which I've felt have worked well on each piano preset I've tried this with so far. (copy and paste to the proper EQ tabs):

1 is for the "Res Eq" (Resonance EQ tab in Equalizer)

Resonance Equalizer = [97, 445, 645, 930, 3460, 10200, 13400, 16000; -1.5, +0.6, +2.5, +1.0, +2.5, +3.0, +1.0, -3.5]

2 is for the "Res Dur" (Resonance Duration in Equalizer)

Resonance Duration = [73, 750, 1550, 3600, 8600, 13400, 16000; 1.15, 1.45, 1.45, 1.30, 1.20, 0.95, 0.75]

But, for 2 extreme examples to try regarding "adversarial" use of the 2 controls showing opposite "tilts".

This first one will boost resonance in the trebles but adversarially, the resonance duration for trebles is minimal.. while the bass is cut, but has the longest duration.

3 is for the "Res Eq" (Resonance EQ tab in Equalizer)

Resonance Equalizer = [60, 16000; -25.0, +25.0]

4 is for the "Res Dur" (Resonance Duration in Equalizer)

Resonance Duration = [60, 270, 2270, 15800; 18.50, 7.60, 1.70, 0.21]

This will do pretty much the opposite of the above..

5 is for the "Res Eq" (Resonance EQ tab in Equalizer)

Resonance Equalizer = [60, 16000; +25.0, -24.5]

6 is for the "Res Dur" (Resonance Duration in Equalizer)

Resonance Duration = [60, 290, 3000, 16000; 0.20, 0.60, 4.00, 20.00]

If you select-copy then right-click paste those in to the appropriate new Piantoeq EQ tabs, you'll see the push/pull from the lines but you can certainly make whatever adversarial frequency ranges - like a V (or, adversarially an upside down V) shape.. or maybe just mids.. you could lower the mid frequencies but extend their duration.. that way, there's less "punch" in attack, but more woody trail off.. and reverse.. push mids but cut their duration for a more punchy sound etc.

My best wish is that all users can discover how to use many of the controls 'adversarially' (pit one setting against another).

It really is key in getting the most from it.. Pianoteq is a powerhouse with this kind of thing (extra good that it's physics based realism).

Lastly - maybe I did not make clear.. you can of course more meaningfully utilize this adversarial approach in small measures, it's not often about huge tilts or massive curves - even just a little more treble resonance with shorter duration, or adversarially, the opposite might allow many people to turn down the reverb control and now feel they are hearing a much improved realism.

To anyone who hasn't yet explored all the controls and are having trouble getting some punch, or some brightness or whatever.. there is no limit to how we can control Pianoteq - just taking the time to let it all sink in (over weeks/months/years) and giving some effort to working out a few basics really seems the best advice if you want to edit and make your own piano presets or changes. Well worth the journey.

Pianoteqenthusiast wrote:

Reading this thread several times I now have tried to use Qexl shape example 1 Res eq and example 2 Res dur with my U4 Tall piece ”Creation with U4 Tall”. With my headphones it sounds very nice to my ears. I think U4 is probably more ovelooked than it should be, I don’t see much recordings with it. But I like it (and Steingraeber and YC5)    Thank you Qexl!
So here it is:

https://forum.modartt.com/uploads.php?f...all%20.mp3

Qexl wrote:

The new resonance refinement is genius.

So many ways it helps thing.. for anyone beginning to noodle around with it.. think of it as "shaping" the resonance.. increase the "Sympathetic resonance" slider so you can more clearly hear the resonance while shaping with the new tools. (you can adjust overall sympathetic resonance slider later to taste of course).

Philippe it's perfect, to help divorce resonance from the effects of reverb more surgically.

For people who don't like a lot of reverb (Player Position for obv. example) now you can switch off reverb like you may be doing already but now, you can adjust the 2 new resonance curves to give more control to how the room fills.

This absolutely allows real room resonance shaping - not to mention pretty much ultimate control of course for all others use cases (big implications for all my old favorite piano presets, all will get a reshaping).

For example.. some settings with mics at some distance from the cabinet can logically carry more reverb (it works like IRL) - we of course experiment with lowering/altering reverb settings including tone to attenuate or sweeten it, as expected (compared to close mic settings, where you may need reverb much higher if you want it noticed).

It's easy for someone not used to these kinds of controls to take time to appreciate it.. so here are 2 from my recent shaping here which I've felt have worked well on each piano preset I've tried this with so far. (copy and paste to the proper EQ tabs):

1 is for the "Res Eq" (Resonance EQ tab in Equalizer)

Resonance Equalizer = [97, 445, 645, 930, 3460, 10200, 13400, 16000; -1.5, +0.6, +2.5, +1.0, +2.5, +3.0, +1.0, -3.5]

2 is for the "Res Dur" (Resonance Duration in Equalizer)

Resonance Duration = [73, 750, 1550, 3600, 8600, 13400, 16000; 1.15, 1.45, 1.45, 1.30, 1.20, 0.95, 0.75]

But, for 2 extreme examples to try regarding "adversarial" use of the 2 controls showing opposite "tilts".

This first one will boost resonance in the trebles but adversarially, the resonance duration for trebles is minimal.. while the bass is cut, but has the longest duration.

3 is for the "Res Eq" (Resonance EQ tab in Equalizer)

Resonance Equalizer = [60, 16000; -25.0, +25.0]

4 is for the "Res Dur" (Resonance Duration in Equalizer)

Resonance Duration = [60, 270, 2270, 15800; 18.50, 7.60, 1.70, 0.21]

This will do pretty much the opposite of the above..

5 is for the "Res Eq" (Resonance EQ tab in Equalizer)

Resonance Equalizer = [60, 16000; +25.0, -24.5]

6 is for the "Res Dur" (Resonance Duration in Equalizer)

Resonance Duration = [60, 290, 3000, 16000; 0.20, 0.60, 4.00, 20.00]

If you select-copy then right-click paste those in to the appropriate new Piantoeq EQ tabs, you'll see the push/pull from the lines but you can certainly make whatever adversarial frequency ranges - like a V (or, adversarially an upside down V) shape.. or maybe just mids.. you could lower the mid frequencies but extend their duration.. that way, there's less "punch" in attack, but more woody trail off.. and reverse.. push mids but cut their duration for a more punchy sound etc.

My best wish is that all users can discover how to use many of the controls 'adversarially' (pit one setting against another).

It really is key in getting the most from it.. Pianoteq is a powerhouse with this kind of thing (extra good that it's physics based realism).

Lastly - maybe I did not make clear.. you can of course more meaningfully utilize this adversarial approach in small measures, it's not often about huge tilts or massive curves - even just a little more treble resonance with shorter duration, or adversarially, the opposite might allow many people to turn down the reverb control and now feel they are hearing a much improved realism.

To anyone who hasn't yet explored all the controls and are having trouble getting some punch, or some brightness or whatever.. there is no limit to how we can control Pianoteq - just taking the time to let it all sink in (over weeks/months/years) and giving some effort to working out a few basics really seems the best advice if you want to edit and make your own piano presets or changes. Well worth the journey.

sounds very nice.
also, thank you very much to Qexl for this awesome post!!
you rock!!!

Cheers Pianoteqenthusiast and Charles,

that's a delightful piece and I can hear you really getting somewhere good with that sound - I just love those new controls. The music and piano definitely strikes a mood.

You have such a delightful conversation with those keys each time It's really good to hear it with the U4 for sure - love it. I go through phases where it's the only piano I want to hear.

Please always know that I really so respect your incredibly hard work and am always keen to hear more (just listened a few days ago on the music forum - well, the organ stuff is pretty awesome for sure too) and your wonderful cheer and always such a joy to hear your music - you're really someone I admire for effort, progress and just such a nice person!

@Piet,

I appreciate the sense of regret you must feel to feel it necessary to state that (we have better things to do). I really often find it painful and time consuming to deal with Ra.

Your music BTW in this last release is beautiful Piet.

Hoping you post more. I'd so like to see that.

Reading this thread several times I now have tried to use Qexl shape example 1 Res eq and example 2 Res dur with my U4 Tall piece ”Creation with U4 Tall”. With my headphones it sounds very nice to my ears. I think U4 is probably more ovelooked than it should be, I don’t see much recordings with it. But I like it (and Steingraeber and YC5)    Thank you Qexl!
So here it is:

https://forum.modartt.com/uploads.php?f...all%20.mp3

Pianoteqenthusiast wrote:

Reading this thread several times I now have tried to use Qexl shape example 1 Res eq and example 2 Res dur with my U4 Tall piece ”Creation with U4 Tall”. With my headphones it sounds very nice to my ears. I think U4 is probably more ovelooked than it should be, I don’t see much recordings with it. But I like it (and Steingraeber and YC5)    Thank you Qexl!
So here it is:

https://forum.modartt.com/uploads.php?f...all%20.mp3

Wow, great sound and performance! You are incredibly good at making demos (I'm referring also to your organ pieces)!