![pianoteq 6 sustain pedal on note strike pianoteq 6 sustain pedal on note strike](https://www.modartt.com/images/pianoteq7/pianoteq7-standard-box-sm.jpg)
Pressing one or more keys on the piano's keyboard causes a wooden or plastic hammer (typically padded with firm felt) to strike the strings. Ī piano usually has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. The name was created as a contrast to harpsichord, a musical instrument that does not allow variation in volume compared to the harpsichord, the first fortepianos in the 1700s had a quieter sound and smaller dynamic range. The Italian musical terms piano and forte indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, and the louder the sound of the note produced and the stronger the attack. So in summary, having 3 unique & very different sounding pianos I use often & really enjoy out of the collection of 5 is a good outcome for me for the price.The word "piano" is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from clavicembalo col piano e forte (key cimbalom with quieter and louder) and fortepiano. Basic controls, but a well captured, realistic & modern sounding, well tuned upright. The Seiler upright was a pleasant surprise. The Fazioli seems to have been captured with the mics a bit further back from the soundboard & hammers, using large diaphragm condenser mics (a Neumann pair I think) and therefore sounds quite open in the tone with a lovely stereo image. Takes a while getting the velocity response right though, but worth persisting with. The Model D sounds close mic'd so is very prominent in the hammer sound (but is great for more intimate, quiet type playing) as is very resonant.
#Pianoteq 6 sustain pedal on note strike upgrade
This should simulate catching the note.Īdding half-pedal samples to the mix would involve another voice for the note, with a similar strategy for switching between full- and half-pedal.Ĭlick to expand.I initially purchased the Model D, and was then offered months later a very attractive upgrade path to the collection, which includes an Erard baby grand (interesting & quirky, but I don't use it much), a Seiler Upright (really nice stereo image and a realistic, warm tone if you get the velocity settings matched well to your keyboard), the Fazioli 278 Grand (my favourite in the collection - very well sampled, dynamic, and well programmed (does catch-pedaling), and a very average Yamaha C7 (never use it).Īll pianos only offer a single mic perspective. If I repedal before the accelerated pedal-down sample runs out, then resume playback of the pedal-down sample at normal speed and crossfade to it.
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If I release the note before the pedal and then pedal up, then fade the pedal-down sample to zero volume but speed up processing of the now-muted sample by some amount (maybe 10x faster? whatever tracks the normal decay without pedal) and begin playing release sample(s). If I release the sustain pedal while keeping the note held, crossfade to the pedal-up sample, and vice versa if I repress the sustain pedal. If I strike a note with the pedal down, then play both pedal-up and pedal-down samples, with the pedal-up sample muted. Consider a library with separate pedal-up and pedal-down samples. I naturally don't mean to question anyone's proficiency, it's just IMHO.Ĭlick to expand.I think a simple implementation would still be reasonably effective, it'd just use a few voices per note. a bot being programmed with a bazillion of possible answers to a bazillion of possible questions. I think physical modelling is THEORETICALLY superior just as Artificial Intelligence is THEORETICALLY superior vs. So one could think that the "best" vst will then be the one that has the biggest number of samples of the best possible recording quality.Īnd that would actually be the case if we were to choose the best piano vst at playing one note: with an infinite number of samples if we play "one note" we would actually hear a perfect recording of the piano playing "that" specific note and velocity, making it impossible to distinguish it from an actual recording of that very instrument playing that very note, which would actually exactly be.īut this changes after the second note is played, and I believe it's this that differentiates Pianoteq. The reason could be that when you think at a piano, you can have the impression that you could theoretically sample an "infinite" number of samples at different volumes and you would then think to have sampled basically every possible sound that instrument can make. Talking about piano I believe it might be the case, at least a little bit.