Pianoteq sounds

Morphing and Layering

Instruments VibraDrum, CimbaHarp or GlockenTines for sure do not exist. However these are three of the many instruments you can create with the acoustic Morphing introduced in Pianoteq 7 (Standard and PRO). This new technology handles the morphing at the physical modelling level, providing a stunning acoustic authenticity to instruments that never existed. The timbre of the morphed instrument you create is the one of an imaginary acoustic instrument whose physical parameters lie somewhere in between those of the instruments from which you started building the morphing.

In the audio examples below, Dynamic Morphing refers to the fact that the percentage of the various instruments is dynamically modified while playing, whereas it is fixed in the Static Morphing examples.

Layering

The Layering feature allows you to mix several instruments, e.g. playing Bass Marimba in the low range, Xylophone in the upper range and mixing both together in the middle range. When layering instruments together, there are two parameters you may find of particular interest: volume and attack envelope. Both can be edited note per note in Pianoteq Standard and PRO. The volume can be used for splitting the instruments to different keyboard ranges, and the attack envelope can be used to mix an instrument with a particular attack that you want to emphasize, with another one whose attack has been weakened via the attack envelope parameter.

Morphing and Layering Pianoteq instruments

Exploring sounds via Dynamic Morphing

Prelude in C maj. FXP

Giusti harpsichord (t < 10), Steinway Square (t = 51), Steinway D (t > 1:33)

dicembre 2020 FXP

Wandering through U4 upright, NY Steinway D and Spacedrum

Jailhouse Blues FXP

Clavichord (t < 5), Vintage Tines MKII (t > 45)

Unreal Music for Real People FXP

Steel Drum (t < 10), Vibes V-M extended (t > 1:24)

We Three Kings FXP

Celtic Harp (t < 10), Cimbalom (t > 44)

Danseuse FXP

Marimba (t < 5), Vintage Reeds W1 (t > 22)

New instruments via Static Morphing

Prelude in C maj. FXP

The 'HarpsiPiano': fixed morphing with 50% Giusti and 50% Steinway Square

Jailhouse Blues FXP

The 'ClaviMKII': fixed morphing with 47% Clavichord and 53% Vintage Tines

Danseuse FXP

The 'MarimWurl': fixed morphing with 45% Marimba and 55% Vintage Reeds W1

Layering

Autumn Serenade FXP

Layering Steinway D, MKII and Vibraphone V-B

Pieces of Sky FXP

Layering Classical Harp in the bass range with Vibraphone V-M in the upper range

Speak Low FXP

Layering Classical Harp in the bass range with Vibraphone V-M in the medium range and HB Steinway D in the upper range

Moderno Blues FXP

Layering Classical Harp in the bass range with NY Steinway D in the upper range

Adding felt to pianos

Placing material between hammers and strings goes back to the 18th century as can be seen in some Viennese-made instruments. Mainly used today on upright pianos, it can be found also on some grand pianos, as for example by Steingraeber.

By adding felt, you can achieve a soft and delicate piano sound resembling to the intimate, cozy blanket of foggy delight which can be heard in many soundtracks.

Felt presets are available in all contemporary pianos in Pianoteq as from version 7.4. In contrast to real pianos, Pianoteq benefits from the physical model by letting you adjust felt thickness.

Right-click on the continuous Celeste Pedal to make use of this unique feature.

Watch the following videos to learn more:

Characteristics of Pianoteq

• The piano sound is constructed in real time by a physical model, responding to how the pianist strikes the keys and interacts with the pedals
• The physical model includes the entire complexity of real pianos (hammers, strings, duplex scale, pedals, cabinet) and other instruments. No quantization noise (32-bit internal computation and renders high resolution MIDI formats CC#88 and Disklavier XP.
• More than 60 models are available for purchase and some of them are free
• It allows Morphing and Layering between instruments
• Continuous velocity from pianissimo to fortissimo, with progressive variation of the timbre: that makes exactly 127 velocities! A sample-based software program would in theory require hundreds of gigabytes for all these velocities. Built-in graphic curve for key velocity, note-off and pedal (half-pedaling).
• Complex resonances that only a model can reproduce in all its richness:
  • Sympathetic resonance of all strings, both without and with sustain pedal
  • Duplex scale (the undamped string parts which come into resonance)
  • Sympathetic resonances between strings
  • Damper position effect when key is released (variable overtones damping)
  • Other special effects like staccato and sound continuation when pressing down the sustain pedal a short time after key release (re-pedalling)
  • Timbre modification of repeated notes, due to the hammer striking strings which are already in motion instead of being still
• Release velocity
• Polyphonic Aftertouch (particularly interesting for the clavichord)
• Ten types of pedals (that can be assigned to the four UI pedals, see manual)
• Choice of microphone position, multichannel mixing (up to 5 mics, 5 channels) and Variable lid position
• Modifications of the models to explore new sounds via direct parameter modification or Mallet bounce (note repetition), Instrument condition (mint to worn), Note Effects.
• Natural instrument noises including:
  • Variable action key release noise (varies with note duration and key release velocity if present)
  • Damper noise at key release (mainly for bass notes)
  • Sustain pedal noise: pedal velocity dependant “whoosh” produced by the dampers rising altogether from the strings or falling down
  • Microtuning and scala format files import
• Various effects including equalizer, keyboard velocity setting, volume, sound dynamics which controls the loudness levels between pianissimo and fortissimo, Convolution reverberation with control of reverberation weight, duration and room size, limiter, tremolo.
• Works on a variety of platforms and plug-in formats:
  • Audio Units / VST / AAX / NKS compatible
    
    
  • Mac OS X 10.11 or later, Windows 7 or later, Linux (x86 and ARM)
    

Why does a piano sound like a piano?

Why does a piano sound like a piano?

Welcome! This short tutorial explains step by step the nature of the piano sound and illustrates how physical modelling can recreate such a sound.

To listen to the audio demos, please click on the "speaker" button.

Sound with just one partial

Sound is produced by air displacement (pressure variation) and can be represented as a sum of sine waves with various length and amplitude called partials.
Let's start with just one partial, using a given frequency f. Such a sound is considered "pure" and can be written as follows:

S(t) = a sin(2π f t).

Listen to the sound:

What is missing?

More partials

The previous sound has poor sonority. Let us add more harmonics using frequencies 2f, 3f, and so on... (when the partials are whole number multiples of a common fundamental frequency, they are known as harmonics):

S(t) = a sin(2π f t) + b sin(2π 2f t) + c sin(2π 3f t) + ...

Here is the result: Does it sound like a piano?

Sound decay

In an acoustic piano, each string is bound to a soundboard through a bridge. The soundboard, made of wood, is a transducer between the string and the air which brings the sound to our ears.

In other words, the string energy is transmitted to the air via the soundboard. This way, the string loses its energy and the sound amplitude decreases. But what will be the decay rate?

Listen

Decay depends on frequency

C3 of a piano (spectral view depending on time, from 0 to 7 seconds):

Harmonics (horizontal orange lines) start simultaneously but the higher the frequency the shorter the harmonic. By the way, we can observe in this figure the beatings produced by a slight detuning between the 3 strings of the unison. We will explain this shortly.

Hammer-string interaction

The strength of each harmonic for each note is determined by the interaction between the hammer and the string, and especially by the strike point. In this figure, each vertical stroke matches an harmonic, and the height defines its strength.

Listen to the sound modelled: without interaction - with interaction

Each note has several strings

With the exception of the low range, each note of a piano has 3 strings, struck simultaneously by the hammer. The fact that there are several strings makes the attack stronger, and it also increases the sound duration.

Listen to the sound modelled with: one string per note - three strings per note

Beating phenomenon

No two strings can be exactly in tune. So setting several strings together will create close frequencies. Gradually, two close frequencies will fall alternatively in phase - the sound reaches its maximum amplitude - and in opposite phase - the sound cancels -, that is the beating:

Two close frequencies (440 Hz and 442 Hz) heard: separately - together

Inharmonicity due to string rigidity

Actually, the sound of a piano is not strictly made of harmonics ƒn = nc / 2L but of partials:

ƒn = (nc / 2L) sqrt(1+Bn2)   

The inharmonicity coefficient B depends on the note and the instrument. As a result, the sound is no longer periodic, and the beatings rate between partials is modified, which is taken into account by the piano tuner.

Three examples with different inharmonicity, from high to low:

high - middle - low

Sympathetic resonance

Strings that are not struck by the hammer can still be in sympathetic resonance.

Listen to the sound modelled:

without sympathetic resonance - with sympathetic resonance

Sound propagation

The sound perceived by the listener has travelled through the air, from the soundboard to his ears.

Listen to the sound: before - after the propagation is modelled

Reverberation

Finally, any place provides its own reverberation. Using some reverberation is especially important when listening with headphones.

Listen to the difference: without reverb - with reverb

Summary

1	Sound with just one partial:
2	More partials:
3	Sound decay:
4	Hammer-string interaction:
5	Each note has several strings:
6	Sound propagation:
7	Sympathetic resonance:
8	Reverberation:

For a deeper insight into physical modelling, we recommend for example the PhD of J. Chabassier.

And now, time for a recital! (click on "Next")

Recital

As if we were sitting in a concert hall.

Schubert - Impromptus D899, No. 3

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, as is well-known, sampling technology itself has 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 cannot 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.

What makes Pianoteq unique

Pianoteq offers many unique qualities and features that make it superior to other virtual pianos:

• Vivid: The piano creates the sound in real time while you are playing and takes into account all the complex factors that make 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 have 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: Convenient: Thanks to its rather modest system requirements, Pianoteq is suitable to run on a modern laptop, convenient for the travelling musician. The small size (less than 50 MB) and the fast interface means no loading time. Just a few mouse movements to start playing.

Pianoteq interface

The many adjustable parameters make it possible to not only adapt the existing piano model but also to create new piano sounds. This is one of the advantages of a truly modelled piano — it opens up new possibilities for the creative musician.

Pianoteq lets you improve the tuning in ways that are usually available only to piano tuners. Example: diapason (414-467 Hz), different kinds of temperaments (from equal to well tempered), microtuning, unison tuning (for changing the timbre or colour of the sound), octave stretching and direct sound duration. Screenshot of the Pianoteq upper panel.

Another task for a professional piano tuner is to "shape" the piano sound according to the pianist's taste. By adjusting hammer hardness it is possible to adapt the piano sound from mellow to bright in great detail. There is not just one adjustment, mellow to bright, but a very detailed slider for each major velocity: pianissimo, mezzoforte and fortissimo.

The next feature is something that not even a piano tuner can do — changing the soundboard impedance. You will get a total control of overtones. This makes it even possible to change the size of the piano, from A size to D size, even up to a 10 meter (33 feet) grand!

Enlarged keyboard

The Pianoteq Steinway D and K2 virtual grand pianos offer an extended keyboard range of 105 keys. This range makes it the largest ever available in a piano.

Grand pianos that offer an expanded keyboard range are rare and extremely expensive. A very well-known example of such a high class instrument is the Bösendorfer Imperial Grand, with its 97 keys expanding the bass range. Stuart & Sons have also built innovative 102 keys pianos, increasing both the bass and the treble range of the piano.

MODARTT takes up the challenge by providing an unprecedented extra-large key range for its Steinway D and K2 virtual grand pianos, with no less than 105 keys (17 keys more than the standard keyboard range), ranging from ultra-low rumbling bass to very high bird-like pitches.

The keyboard range expansion was developed to correspond to an increasing demand from Pianoteq users for additional notes. The extended sound palette, obtained thanks to the powerful Pianoteq physical modelling, can be used e.g. in certain prominent piano works by Debussy, Ravel and Bártok where the extended range is utilized. If playing gentle octave chords, the extended bass notes will add a rumbling sound that will strengthen the effect. Below is an example of where the pianist makes use of the extended keyboard range.

In this particular arrangement (suitable for 4 hands), Pianoteq demonstrates its capacity where most other pianos will fail. Based on transcriptions of Paganini's last movement of his second Violin Concerto, Pianoteq's extended keyboard range brings out the complete tonal colour palette. The highest D#, which constitutes Paganini's original 'La Campanella' (The Bell), exists in an octave higher than every other commercial piano library in the world. Many rumbling ultra-low octave notes are also prominently featured.

The fourth generation piano

The Pianoteq physical model was issued from academic research at the Institute of Mathematics of Toulouse, INSA, Toulouse, France and is continuously developed by Modartt.
The result is what we call the fourth piano generation. Pianoteq is the very first piano 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 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 virtua piano factory — it can produce new brands as well as copies of historical instruments.

Professor Gabriel Weinreich, renowned figure in the world of musical acoustics, said:

«I demonstrated the first "Piano from first principles" at a conference in Austria in 1980. Never in a million years would I have dreamed at that time that, in my lifetime, this art would have reached the state of development embodied in your Pianoteq program. I congratulate you and all your collaborators on this most marvelous development.»