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Pianoteq

Pianoteq

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Pianoteq

Excl. Tax: €202.39 Incl. Tax: €242.87
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Quick Overview

After two years of intensive research in several fields - acoustic models, electro-acoustic models, algorithms - MODARTT proudly presents the long awaited and much improved version 3 of PIANOTEQ.

Product Description

New acoustic model


One of the most exciting new features in version 3 is the new acoustic model
which simulates the sound radiation of the soundboard and the cabinet. Developed
in close cooperation with demanding musicians, it brings stunning realism, clarity
and brilliance.


Unlimited sound perspectives


The new acoustic model allows you to place up to 5 microphones anywhere around
the piano in an additional illustrative interface. A mixer is available for
combining the mics into 5 output channels, with the possibility to adjust separately
level and delay.


PIANOTEQ 3 offers thus full control of the sound source and unlimited possibilities
to choose the “colour” of the piano sound, similar to what professional
audio engineer do when recording. The resulting experience is simply an amazing
audio immersion!
In binaural mode, for headphone usage, a head model is used for simulating the
sound heard by a person located where the head is placed in the interface. The
head can be rotated in any direction and even its size can be changed.


New grand pianos


Thanks to our research, we build two beautiful new instruments that each has
its own personality. The Grand C3 has a warm and coloured sound, suitable for
classical, romantic or lyrical music. The Grand M3 has an attack and presence
that will suit jazz and rock music. In the end, this is of course a matter of
taste and the choice will depend on the selected music. Different perspectives
are provided with each instrument: player, recording (4 mics in the C3 solo
recording), close mic, binaural… These are only a few among the infinitely
many perspectives that you can create yourself by choosing your own recording
settings: mics placement and mixing. Thus any musician or producer should find
the piano he needs.


The virtual piano factory


When building these two instruments, we took our inspiration from the very best
acoustic pianos in the world. They can be used just right out of the box. They
can also serve as starting points for creating new instruments, entering the
virtual world of the fourth piano generation. PIANOTEQ 3 opens new soundscapes
that enriches the resources of all musicians and composers, from amateurs to
professionals. Try for example a piano equipped with a virtual carbon fiber
soundboard!


As mentioned by Philippe Guillaume, creator of PIANOTEQ: "during the 19th
century, there were hundreds of different piano manufacturers offering a great
variety of piano timbres. At the end of the 20th century, only a reduced number
of timbres were still available because of standardization. The dream that we
share with other piano lovers is to offer the musicians a possibility to use
and create many different sounds in order to enrich their expressivity".


New models for other keyboard instruments


With PIANOTEQ 3, a broad family of keyboard instruments is now covered, from
historical harpsichords and pianoforte to contemporary grand pianos, electro-acoustic
pianos, vibraphones... The different models even share some features; for example,
the electro-acoustic pianos have a sostenuto pedal and the acoustic pianos can
use the tremolo effect or the limiter. More surprising: you can change the sound
speed in the air that is used by the model...


The first truly modelled piano


Pianoteq is issued from an academic research and results in what we call the fourth piano generation. This is the very first, and only, piano available that belongs to this generation.

First generation: acoustic piano (1698)
Second generation: electro acoustic piano (1929)
Third generation: sampled piano (1984)
Fourth generation: modelled piano (2006)

The first generation of pianos began with Cristofori's pianoforte in 1698 which came to maturity at the end of the 19th century with the acoustic grand pianos. It was followed in the 20th century by the second generation electro-acoustic pianos and the third generation sampled pianos where each note is a recording of how it sounded during a specific moment in time, not taking into account the complexity of the instrument.

Pianoteq is the first and only piano belonging to the fourth generation, developed in order to go beyond the limitations of the third generation and to become a versatile and innovating tool. It is in fact the first virtual piano factory — it can produce new brands as well as copies of historical instruments.

The Pianoteq sound

Vivid

The piano creates the sound in real time while you are playing and takes into account all the complex factors that makes the piano a truly vivid instrument, such as the interaction between strings, the use of pedals, the cabinet resonance and the position of the hammers. It will feel like you had a real piano in front of you... as if you could just lean over and touch the strings!

Versatile

Pianoteq introduces new possibilities to adjust the piano sound just the way you like it! Things that until now were dedicated for piano tuners are now possible directly from the interface. Within seconds you can adjust the sound to a particular type of music or playing style. The many choices can be saved as a customized setting which you can share with other Pianoteq users.

Expressive

All the detailed variations of the timbre are there, from the weakest pianissimo to the strongest fortissimo! What you express on your keyboard will also be what you actually hear. The sound of even the weakest pianissimo is absolutely pure without any audible quantization noise.

Convenient

Thanks to its rather modest system requirements, Pianoteq is suitable to run on a modern laptop, convenient for the travelling musician. The extremely small size (8 MB) and the fast interface means no loading time. Just a few mouse movements to start playing.

The Pianoteq technology

Characteristics of Pianoteq

  • The piano sound is constructed in real time, responding to how the pianist strikes the keys and interacts with the pedals
  • It includes the entire complexity of a real piano (hammers, strings, duplex scale, pedals, cabinet)
  • No quantization noise (32-bit internal sampling at 192 KHz)
  • Real progressive variation of the timbre (127 velocities per note)
  • Adjustable hammer hardness (voicing) and other similar parameters
  • Adjustable unison width (tuning) and other similar parameters
  • Adjustable piano size (soundboard) and other similar parameters
  • Adjustable spectrum profile, based on the first 8 overtones
  • Progressive sustain pedal, allowing partial-pedal effects
  • Sostenuto pedal, harmonic pedal and Una Corda (soft) pedal
  • Microtuning with Scala format
  • Lid position (open, half-open, closed)
  • Stereo width slider
  • Key release velocity
  • Very fast to install and initialize
  • Total size is about 15 MB (MegaBytes)
  • It can be used successfully with a laptop (low hardware requirements)
  • Adjustable optional samples of acoustic noises (pedal and key release)
  • Built-in graphic equalizer with freely adjustable key points
  • Built-in graphic velocity curve with keyboard presets
  • Built-in reverb unit with presets

Why a sampled piano is insufficient

The very best sampled pianos of today are the result of many hours of careful recordings associated with complex solutions designed to provide a valuable piano sound. We respect the work of these high class competitors who manage to develop sampled based pianos of this quality. However, it is since long well known that the sampling technology as such has some inherent disadvantages.

To give you an understanding of the reasons why we chose to develop Pianoteq we find it necessary to describe the shortcomings of using samples to create a digital piano:

  1. The sampled piano contains static recordings of each note, how it sounded during a particular moment in time. It does not take into account the influence of other strings vibrating, cabinet resonance, pedal interaction and hammer position.
  2. The sampled piano can not alter the existing piano samples when it comes to parameters such as hammer hardness, unison tuning, cabinet size, overtones spectrum etc.
  3. The sampled piano has several technical limitations such as audible quantization noise and uneven variation of the timbre (from ppp to fff).

Despite many recent attempts to enhance the sampled piano sound by adding convolution reverb and other post processing effects, the technology as such has too many limitations when it comes to achieving a truly vivid and convincing piano sound.

 

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