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Pianoteq English Manual
Pianoteq English Manual
presents
PIANOTEQ 6
1
Welcome
or support issues and latest news a"out our products, please visit
ourr we"
ou e"si
site
te at www%pianote!%com
www%pianote!%com%% If you have any !uestions or
comment, let us #now% &e always listen to our customers%
'
Contents
1 Introduction.................................................................................................................7
3 Overview, instruments...............................................................................................16
3.1 !nstruments.......................................................................................................................17
3.1.1 $coustic pianos
pianos and predecessors......................................................................................
predecessors...............................................................................................
.............1%
....1%
3.1.2 &!'iR collection.................................................................................................................................
collection................................................................................................................................. 1(
3.1.3 &eyboard ran)e................................................................................................................................1(
3.1.4 *arp..................................................................................................................................................2+
3.1.# ,lectric pianos...................................................................................................................................21
pianos...................................................................................................................................21
3.1.- *oner /ollecti
/ollection.............................................................................................
on.............................................................................................................................22
................................22
3.1.% 'ibrapones
'ibrapones.................................................................................................................
......................................................................................................................................22
.....................22
3.1.8 0ylopone and arimba..................................................................................................................
arimba.................................................................................................................. 22
3.1.( oy piano /elesta and lockenspiel..............................................................................................
lockenspiel...............................................................................................22
.22
3.1.1+ Steelpans........................................................................................................................................22
3.1.11 ter instruments........................................................................................................................
instruments..........................................................................................................................23
..23
(
3.2 $anaging instruments and presets...................................................................................23
3.2.1 "ifference bet5een 6instrument7 and 6preset7..............................................................................24
3.2.2 !nstrument modifications................................................................................................................. 24
3.3 /ints..................................................................................................................................24
3.3.1 /reatin) your o5n instrument.........................................................................................................24
3.3.2 Brilliance........................................................................................................................................... 2#
3.3.3 sin) reverberation..........................................................................................................................2#
4 Tuning panel..............................................................................................................31
4.1 5iapason............................................................................................................................31
4.2 Temperament....................................................................................................................31
8.1 'oundoard.......................................................................................................................39
)
8. :"ooming...........................................................................................................................4
1( !elocit) panel..........................................................................................................42
11 Output panel............................................................................................................43
11.1 Peda"s..............................................................................................................................44
12.1 ,%tion..............................................................................................................................2
12.3 ;qua"i<er..........................................................................................................................3
12.4 ;ffe%ts..............................................................................................................................3
12. =evereration..................................................................................................................0
13 Practice....................................................................................................................7
14 Pianoteq Pro............................................................................................................62
*
16 /pecial ac0nowledgements.......................................................................................6%
+
1 Introduction
1%1 The fourth generation of pianos
The first generation of pianos, starting in 1+- with Cristofori.s pianoforte, came to
maturity at the end of the /I/ century with the acoustic grand concert piano% It was
followed in the // century "y electro0acoustic pianos, and then "y digital sampled
pianos% Now, at the "eginning of the //I century, Pianoteq is the first instrument of the
fourth generation of pianos, "ased on physical modelling and offering etraordinary
playa"ility and epressiveness%
&ith Pianoteq, you can adapt the piano sound to your own taste% 2ni!ue parameters
that model the "ehaviour of real pianos result in great realism, until now only to "e
eperienced on real acoustic pianos%
2sing ('0"it internal computation, the calculated piano sound is free from !uanti3ation
noise% True dynamic tim"re results, from the faintest pianissimo to the strongest
fortissimo, for all 1'4 standard MI5I velocities 6and even more with high resolution
MI5I7%
8verything that characteri3es a real piano is there9 the mechanical noises, the comple
sound of pedals and strings in interaction, the percussive impact on staccato play 6short
notes7, and of course, most importantly, the beauty of the piano sound %
The second generation "rought innovative sounds 6such as the ender :hodes, &urlit3er,
;amaha C<, and others7, whereas the third generation only reproduced recorded
samples% =ased on an effective physical model, Pianoteq allows you to ad$ust and
stretch parameters, resulting in new sounds and performance styles% Pianoteq is "oth a
way to emulate eisting pianos and an innovative tool for music creation%
Pianoteq is in fact the first virtual piano fatory 9 it can produce new "rands as well as
copies of eisting instruments, from historical instruments such as harpsichords and
pianofortes to contemporary grand pianos or the more recent electro0acoustic pianos%
Other instru!ents of the idiophones fa!ily are regularly added to the Pianoteq
collection% >isit our we"site www%pianote!%com and discover our latest creations%
4
1%' &hat ma#es <ianote! outstanding
It is light9 it does not re!uire storing huge data involving a whole collection of
5>5.s, since it only needs an up0to0date C<2 for computing all sounds in real
time% It loads easily into :AM, and installation is instantaneous% No pro"lem using
it on a modern laptop%
It can handle ultra low latencies with good audio drivers on a recent C<2%
-
1%( <ianote! versions
All versions offer the same sound, instruments and playa"ility "ut differ in the range of
features and settings% The ta"le "elow summari3es the main differences "etween the
three versions%
F1G Dptional instruments are sold separately and can "e loaded in any Pianoteq version%
F'G In PIANOTEQ &TA'E, preset loading is limited to parameters that are present in the
interface% <resets "uilt with PIANOTEQ PRO can "e loaded in PIANOTEQ &TANDARD
without any limitations%
F(G In PIANOTEQ &TANDARD, Note0per0note edit is availa"le for tune and volume%
This manual descri"es the general features that can "e found in Pianoteq% 5epending on
your version, some of them may or may not "e present%
1%) eatures in short
Pianoteq is e!uipped with all of the features you could dream of9
Continuous velocity from pianissimo to fortissimo, with progressive variation of
the tim"re9 that ma#es at least 1'4 velocitiesJ A sample0"ased software program
would re!uire hundreds of giga"ytes for all these velocities
Comple resonances that only a model can reproduce in all its richness9
o Sympathetic resonances of all strings, "oth without and with sustain pedal
o 5uple scale 6the undamped string parts which come into resonance7
o 5amper position effect when #ey is released 6varia"le overtones damping7
o Dther specific effects li#e staccato and sound continuation when pressing
down the sustain pedal a short time after #ey release 6re0pedalling7
8tended #ey range to 1K* #eys for some grand pianos 6Steinway Model 5, H'7
Tim"re modification of repeated notes, due to the hammer stri#ing strings which
are already in motion instead of "eing still
<olyphonic Aftertouch 6particularly interesting for the clavichord7
our pedals 6other assignements are possi"le, see chapter 1179
o <rogressive sustain pedal allowing the so0called ?partial pedals@ 1
o Sostenuto pedal, allowing you to hold some notes after release without
pressing down the sustain pedal
o armonic pedal, allowing you to play staccato while maintaining the
sustain pedal resonance 6not availa"le on acoustic pianos7
o Una corda pedal, also called the soft pedal, modifying the sound !uality
or timbre "y shifting the piano action to the right 6on grand pianos7
>aria"le lid position
Natural instrument noises 6sampled or modelled7 including action #ey release
noise, damper noise at #ey release 6"ass notes7 and sustain pedal noise9 pedal
velocity dependent ?whoosh@ produced "y the dampers rising together from the
strings or falling down
Microphone positioning and multichannel miing 6up to * mics, * channels7
Microtuning and scala format files import
Hey"oard, pedal and note0off velocity settings
Sound control via e!uali3er and 6volume7 dynamics
=uilt0in convolution rever"eration, allowing you to import &A> impulses
Standard effects including delay, chorus, flanger, phaser, tremolo, wah0wah,
amplifier and a compressor
Driginal hammer "ouncing feature, interesting for chromatic percussions
6marim"a, ylophone, cim"alomL7
Instrument condition control, from freshly0tuned to completely worn0out%
1
If your piano supports a fine enough MI5I progression 6up to 1'4 values7 for the sustain pedal%
1K
' Installing and starting <ianote!
Pianoteq wor#s on computers e!uipped with &indows, Mac DS / or Binu% ;ou can use
Pianoteq in standalone mode or as a plug0in instrument in a >ST, >ST(, Audio 2nits or
AA/ host% Pianoteq runs in "oth ('0"it and +)0"it mode% &e recommend visiting
www%pianote!%com where you will find the latest information, a detailed AE page and
a tutorial on how to connect your hardware%
Opti!i(ation
If you eperience pops and crac#s when playing, watch the audio load and C<2
fre!uency in Options ► erf 9
:ed "ars in the graphic indicate an overload% In that case, loo# at the displayed C<2
fre!uency% If this fre!uency varies or stays "elow the normal fre!uency of your C<2, it
comes from the <ower Management setting of your computer which should "e set to
?igh <erformance@%
11
'%' Installation for Mac DS /
Clic# on the Pianoteq pac#age and follow the instructions% Activation is re!uired when
launching Pianoteq for the first time% ust follow the on0screen instructions%
)arnin$
Most hosts save your modifications and reload them when you restart% If you hear some
strange sounds, ma#e sure that all parameters are at their default values% Chec#, for
eample, whether the velocity and e!uali3er curves are correctly defined%
1'
The !evices section 6in standalone mode only7 lets you select your #ey"oard, audio
device and related driver 6Audio device type7, output channels, sample rate and audio
"uffer si3e%
Pianoteq computes all notes dynamically 6that is, in real time7% Thus a modern C<2 is
re!uired% =ass notes contain more overtones and thus re!uire more computations% The
erf section allows you to select from among the following features9
Multicore renderin" % ;ou should usually ena"le this feature%
CU overload detection % 2nder certain circumstances 6a slow C<2, very fast
music7, the C<2 may "e overloaded "y the num"er of re!uired computations%
CU overload detection might "e useful for real time processing, for eample
when 1K seconds of sound re!uire 1' seconds of C<2 computations% Some
computations are then "ypassed%
Internal Sample $ate affects the internal sampling rate of Pianoteq% A lower
fre!uency re!uires less computation% Thus the lower the capacity of your C<2,
the lower you should set this sample rate%
The ol&phon& is the num"er of individual sounds 6notes, sympathetic
resonancesL7 that are played simultaneously% The lower the capacity of your
C<2, the lower you should set the polyphony% Alternatively, you can choose Auto
'essimistic or Optimistic( for an automatic polyphony setup%
1(
'%-%1 <lay"ac# speed
;ou can ad$ust the play"ac# speed "y clic#ing on :1 <6times 17=% A menu will appear
where you can choose another value or enter any value "etween K%1 and 1K%
Alternatively, clic# on :1 and drag the mouse to get the value you want%
or less recent performances, a MI5I Archiver is availa"le, acces to its settings at the
"ottom of the $ecentl& pla&ed on the ,e&board menu%
1)
'%-%) Step "y step in your MI5I file
In the standalone version, for eploring your MI5I file step "y step, forwards or
"ac#wards, use the computer #ey"oard right or left arrows to play single notes or
chords%
1*
( Dverview, instruments
&e come now to a "rief overview of Pianoteq% Its interface is divided into two sections9
Ad$usting any of the parameters is easy% =ut you can also simply choose your instrument
from the instrument menu on the top left%
1+
(%1 Instruments
Pianoteq instruments are "ased on physical modelling ― which simulates the way the
sound is generated and how it propagates in space ― coupled to a mathematical
analysis of original instruments%
The optional instruments are included in demo mode in Pianoteq for your evaluation%
;ou can download additional free instruments from the user area at www%pianote!%com %
14
fourth string for each #ey in the tre"le, called the Ali!uot system% Its purpose is to
create a sympathetic vi"rating string that enhances the tone% This feature is included in
the <ianote! =lthner model%
/0 $rand piano
The grand piano /0, which was created for Pianoteq 1, has
evolved "y com"ining the "est elements of several models% Its
'11 cm 6+ 11U7 ca"inet offers the magnificent sound that comes
from a perfect "alance "etween warmth and "rilliance%
45 upri$ht piano
The 45 upri$ht piano offers '1 eciting presets emphasi3ing
the characteristics of upright pianos% =esides the "eautiful
tim"re of well0"uilt acoustic pianos, there is higher
inharmonicity and increased imperfections in presets such as
=lues, on#y Ton#, >intage, 5etuned, :uined, =ier#eller,
Tac#y, &avy, &eathered, Clu"%%%
/re!se$$ ,olletion
This collection of "eautiful historical pianos, ranging from the
1-th Century to the late 1th Century, has "een created in
colla"oration with Hremsegg Schloss Museum 6Austria7% It
includes virtual copies of pianofortes 7 Dohnal 614*7, 7
+road*ood 614+7, and grand pianos I7 +esendorfer 61-'7, I7
Pleyel 61-(*7, 7 8ren(el 61-)17, &7 Erard 61-)7, 7+7
&treiher 61-*'7, ,7 +ehstein 61-7% Incompara"le for
rendering the music of the Classical period, these instruments can also "e used for more
recent compositions% The late01 th Century pianos, particularly, with a design
approaching that of a modern piano, illuminate $a33 and other modern music%
1-
9ans Ru3ers harpsihord
The physical model is "ased on a copy "y Matthias riewisch of
a 9ans Ru3ers II le eune harpsichord 61+')7% This virtual
instrument offers an etension of the original instrument, from
)V to +V octaves, and is e!uipped with three registers W lower
-, upper -, and ), which can "e com"ined in ways not even
possi"le in the real world 6see the B-, 2- and ) "uttons a"ove
the interface #ey"oard7% A local MI5I mapping allows you to change the registration
directly via the ( lower notes of your #ey"oard% =esides sustain and soft pedals, this
harpsichord is e!uipped with a =uff stop pedal and a :attle pedal 6cf% Section 11%17%
Ori$inal=e<tended ran$e
Most historical instruments included in the /I:iR collection have a reduced range% or
some of them, it was possi"le to etend this range slightly% The etended range has
"een set to the default range% If for some reason you want to use the original range 6as
for eample using the original sympathetic resonances range7, $ust clic# on the minus
1
sign to the left of the virtual #ey"oard% Clic#ing on the plus sign will allow you later to
come "ac# to the etended range%
(%1%) arp
The 9arp pac# offers a concert harp, physically modelled after a
Salvi concert grand harp%The concert harp for <ianote! includes
the a"ility to play pinch harmonics 6flageolets7 and glissandos%
Moreover, a diatonic playing mode was designed to offer closer
eperience to the reality of the instrument where seven pedals
allow to change the pitch of the strings and play in all #eys%
If you clic# on the little 5 to the left of the #ey"oard, you enter the diatonic mode
where only white #eys produce a sound% As in a real concert harp, the #ey signature is
specified "y seven pedals, from left to right 5, C, =, 8, , , A, each pedal "eing
controlled "y a group of three "lac# #eys9
or eample, clic#ing on left "lac# #ey "elow 8 will produce an 8 ♭ alteration whereas
clic#ing on the right "lac# #ey will produce an 8X alteration%
Clic#ing on the little C to the left of the #ey"oard "rings you "ac# to chromatic mode%
Warnin"# if you play a MI5I file in diatonic mode, each "lac# #ey encountered in the MI5I
file will produce the relative change of the #ey signature%%% you might "e surprisedJ
'K
(%1%* 8lectric pianos
The Eletri pianos pac# offers three ama3ing electro0acoustic
pianos from the seventies% 8ach 8lectric <iano 6 /inta"e Tines
M0I. /inta"e Tines M0II and /inta"e $eeds W1 7 is provided with
several variants% 2sing the rich interface features, you can
customi3e them to your own taste%
(%1%4 >i"raphones
The :ibes pac# offers two "eautiful vi"raphones% /3M is a virtual
copy of a Musser vi"raphone that "elongs to the famous rench
vi"raphonist 5any 5ori3% /35 is a virtual copy of a =ergerault
vi"raphone that "elongs to the Condorcet studio in Toulouse
6rance7% The "ars are made of metal%
'
ohner is a registered trademar# of Matth% ohner m"
'1
houses metal plates struc# "y felt hammers resem"ling piano hammers% The virtual
celesta is modelled after a modern five0octave erman "rand% The gloc#enspiel also has
metal plates "ut they are struc# "y hard metal mallets held "y the musician% The virtual
gloc#enspiel, modelled after a modern rench "rand, has "een etended to cover four
octaves%
(%1%1K Steelpans
The Pianoteq physical model has "een enriched to produce the
characteristic tim"re of steelpans, with their U"loomingU
overtones that are due to the mechanical properties of thin
steel sheets% Steel drums were originally "uilt from empty oil
"arrels as the popular drums were for"idden "y the Trinidad
government%
The &teelpans pac# includes ) instruments9 Steel 5rum, Spacedrum, and <an and Tan#
5rum% 8ach instrument is provided with one preset faithful to the original instrument
modelled and several variants%
The &teel Dru! instrument is a com"ination of the #nown types, the Udou"le secondU,
the UtenorU, the Udou"le guitarU, the Utriple celloU, and covers ) octaves%
The &paedru! is a recent variant of the 9and Pan% =oth instruments offer presets for
hand playing and mallet playing, and are etended to ) octaves% The "looming effect is
a "it less pronounced than in the Steel 5rum%
The Tan3 dru! is made of thic#er metal from a gas tan#% Several tongues are cut into
the "ottom of the tan# for producing the notes% 5ue to its shape and thic#ness, there is
almost no "looming effect% The instrument is etended to (V octaves%
''
(%' Managing instruments and presets
;ou can load and save instruments from the instruments menu 9
This menu lets you choose from a list of "uilt0in instruments and presets, etra
instruments 6files with etension %pt!7 or presets 6etension %fp7 that you have saved in
your <ianote! folders% More details are provided in section (%)%'%
or eample, Stein6a& Model ! relude and Stein6a& Model ! Classical are the same
instrument, as the difference lies in the microphone position which can "e defined "y
the user himself% Dn the contrary, Stein6a& Model ! relude and 07 relude are two
different instruments "ecause it is impossi"le to o"tain one of them "y modifying the
user interface parameters of the other%
8ach time you modify parameters in Pianoteq, a few computations are needed to
update the instrument 6physical model7%
Dnce you are done, the edit and save "uttons to the right of the instruments menu
allow you to edit and save your new preset%
Also have fun trying the $andom "utton, which changes all settings randomlyJ
'(
(%( ints
(%(%1 Creating your own instrument
enerally spea#ing, you will find it more interesting to ma#e ad$ustments, large and
small, in several parameters instead of ma#ing a single large ad$ustment% Moving a
single slider to the left may throw the weight of the sound onto other parameters that
you may want to ad$ust% Moving a slider to the far right may o"scure the contri"ution
other parameters ma#e to the sound, or ma#e their small contri"ution seem too strong%
Moreover, the parameters that interact may "e in separate panels, since each panel has
controls that modify the way in which a single physical component of a piano
contri"utes to the sound, instead of controlling the sound in general% This manual often
touches on these ad$ustments% urther eperimentation will let you eperience the ways
in which the parameters interact% Ma#e a small ad$ustment in one parameter and a large
one in another% Ma#e large and small ad$ustments everywhere% ;ou can create almost
any sound that a piano can create, and more%
(%(%' =rilliance
=rilliance is an important sound !uality for achieving good realism% ;ou may want to
ad$ust it whether you are staying close to the loudspea#ers, or listening at low volume
levels, or using headphones% ;ou can for eample change the hammer hardness from the
/oicin" panel, or use the 8E from the lower panel%
The #ey"oard velocity itself plays a crucial role in the sense of "rilliance% >isit the
Pianoteq user forum http9www%forum0pianote!%com where users provide velocity
curves for many types of #ey"oards% See also the tutorial in section 1(%)%
Moreover, it is worth mentioning that "ypassing rever"eration in Pianoteq does not have
the same effect as "ypassing rever"eration in a sample0"ased instrument% In the latter
case, unless recording was made in an anechoic cham"er, there is a natural
rever"eration present in the recorded samples which may not "e perceived as
rever"eration "ecause the note release cuts the rever" tail itself, whereas in Pianoteq"
there is no rever"eration whatsoever when you switch it off% In that case, the sound
loses an important part of its natural !uality and may sound strange or synthetic,
particularly with headphones, "ecause in the real world we never hear sounds without
some rever"eration% ence, we recommend "ypassing rever"eration only when using an
eternal W or natural W rever"eration%
')
(%) eneral commands
(%)%1 <laying with the parameters
In Pianoteq you can modify and create your own presets, save them and share them
with other users% The following commands are located at the top of the interface%
The edit 6pen7 and save "uttons allow you to edit and save your new preset%
The free(e chec#"o allows you to select the parameters that you want to #eep
unchanged when changing instrument or preset% This is a very convenient feature
for ?transporting@ settings from one instrument to another%
The rando! command allows you to randomly change tunin", voicin". and desi"n
parameters% <arameters located in the Audio 8ngineering section are not
affected "y the random command%
2sing the undo=redo commands, you can at any time undo and redo the changes
you have made9 up to 1KK undos are possi"le% A right clic# on the "utton shows
you the last modification%
The A+ "utton allows you to switch "etween two presets A and =, one "eing in
the foreground while the other is in the "ac#ground% The led "eside them is lit as
soon as A and = are different% Clic#ing on the led copies the foreground preset
into the "ac#ground preset% A right clic# on the A= "utton lists the differences
"etween A and =% A and = presets have their own undoredo stac#%
'*
(%)%' Managing and sorting presets
&hen you clic# on the edit "utton, the following presets manager appears9
It lets you manage the instruments and presets from the instruments menu% ;ou can edit
the presets information, sort or filter them 6see some part of them7, rename them, etc%
Edit
Information on each preset is displayed at the "ottom of the presets manager, as well as
a small demo ecerpt 6 mini3pla&er to the left of the edit "utton7% There you can edit
the information related to your own presets, and record yourself your own demo ecerpt
6left and right clic#s on the mini3pla&er 7%
&ortin$
The way presets are sorted can "e chosen "y clic#ing in the appropriate column9 reset
name, Instrument or 5an,%
'+
A ban, is a set of presets that are located in a given folder, ecept the factor& "an#
which contains all "uilt0in instruments and etra instruments provided as pt! files and
located in the Addons folder%
8ilterin$
;ou can select the instruments and presets that are visi"le in the instruments menu
through three different ?filters@ located on the right side of managing window9 search,
All instruments, All ban,s% ;ou can also clic# on individual instruments or "an#s%
Rena!in$ presets
A dou"le clic# on a user preset name allows you to rename it% ;ou can also open the
contetual menu "y clic#ing on the small arrows in the MI!I column%
&avin$ presets
After you have created your new preset, you can save it "y simply clic#ing on the save
"uttonY a popup window will as# you for a preset name and a "an# name 6default "an# is
M& resets7% 8ach time you clic# again on the save "utton, you will save the new values
with the same preset name% ;ou can access "ac#up copies with a right clic# on the
preset name 6if there are some7%
'4
(%)%( Assigning a parameter to a MI5I controller
;ou can assign Pianoteq parameters to MI5I controllers such as those that may "e on
your #ey"oard% Select the parameter slider that you want to assign 6right clic# on the
slider and clic# on MI!I ► Assi"n MI!I Control 7 and move the #no" of the MI5I controller
that you have chosen for this parameter% <ianote! will automatically assign the
parameter to the controller% More sophisticated possi"ilities are provided in the
Options8MI!I section%
Any MI5I control may "e assigned ecept the following ones9 MI5I controls +, (-, +01K1
which are used for :<N and N:<N MI5I parametersY controls 1'K to 1'4 are reserved for
various reset operations 6Uall notes offU etc%7Y controls (' to +( are reserved for 1)0"it
precision controllers%
'-
)arnin$9 when ad$usting the parameters to etreme values, one may create
instruments having unusual or even unrealistic properties% ence one can create sounds
that do not correspond to #nown instruments%
inally, the Condition slider lets you modify the state of the instrument, from freshly0
tuned to completely worn0out% :ight0clic#ing on this slider and changing the $andom
seed parameter allows you to en$oy thousands of "ro#en instrument variations%
'
) Tuning panel
Pianoteq allows you to perform all of the tuning operations usually made "y a piano
tuner% The Tunin" panel contains the following controls9
)%1 5iapason
The standard diapason 6A a"ove middle C7 fre!uency ( is ))K 3, "ut you can change it to
other values "y clic#ing in the !iapason menu%
)%' Temperament
The temperament defines the way the scale is tuned% =y clic#ing in the Temperament
menu, you can choose from among the following temperaments 6see appendi79
2qual9 the standard tuning
called ?diabolus in musica @7% Can you hear which one it isP
Mesotonic. Well3tempered and Werc,meister III 6/>IIth79 une!ual temperaments
with synthesi3ers%
The !etune entry in "oth 5iapason and Temperament menus gives you access to the
Note 2dit 3 !etune panel where you can detune your instrument note per note%
(
re!uency is the num"er of oscillations per second%
(K
A uni!ue feature of Pianoteq is that tuning does not follow a pre0computed fre!uency
ta"le 6ecept for the flat temperament7, "ut ta,es into account the inharmonicit& of
the strin"s. in the same 6a& a piano tuner does 6ith acoustic pianos % ence, the
consonance of the notes is improved and the chords have a fuller and richer sound%
or other temperaments, you can enter the Advanced Tunin" panel "y clic#ing on the
:mu; "utton % There you can import your own scala< files and #ey"oard mappings
via the Temperament and 0e&board Mappin" menus%
&hen retuning an instrument, you can choose among two options9 Strin" tension or *ull
rebuild % Changing the string tension affects the tim"re of the instrument "ecause
inharmonicty increases when tension decreases, whereas full re"uild recali"rates all
strings in order to provide the same tim"re for a given pitch%
)
or more information, see http9www%huygens0fo##er%orgscala
(1
8periment yourself "y gently changing
The unison 6idth , that is, the difference "etween the lowest and the highest
strings choir from the lowest 6"alance Z 017 to the upper fre!uency 6"alance Z Q17
of the choir, "alance Z K "eing the factory setting value%
&hen the octave stretchin" parameter is set to 1, the stretching follows the natural
inharmonicity of the strings 6depending on the string length7, so there still is a slight
stretching% If you want no stretching at all, then use the flat temperament%
in the Advanced Tuning panel Stretch menu, you can transfer the stretchin" 6the
amount of detuning7 induced "y inharmonicity to the 5etune parameter, which allows
you to o"serve directly that detuning in the Note 8dit 0 5etune panel%
*
The musical interval "etween the two closest notes with the same name 6e%g% A( and A)7 is
called an octave% The theoretical fre!uency ratio "etween two such notes is ', "ut in practice it
is slightly stretched "ecause of the inharmonicity of the strings and the property of the human
ear 6cf% also 5esign <anel7%
('
)%* 5irect sound duration
Dne conse!uence of modifying unison fre!uencies is that you change the direct sound
duration% The same thing happens when reshaping hammers% If you prefer, you can act
directly on this duration "y changing9
The direct sound duration%
Time representation of a piano sound deca&. natural scale 'l eft( and lo" scale 'ri"ht(%
*ast deca& at the be"innin" 'direct sound(. slo6 deca& after 'remanent sound(%
((
* >oicing panel 6acoustic7
The strings of a piano are struc# "y the hammers, small wooden pieces covered with
hard felt% or a piano tuner, voicin" consists in ?shaping@ the sound according to the
pianist.s taste% This is made "y wor#ing on the hammer felt, giving it the desired shape,
hardness and elasticity%
Pianoteq allows you to perform this same voicing operation% The voicing panel offers
you the following controls9
()
Time. frequenc& and time3frequenc& representation of a note. before and after voicin"%
>ere. amon" other thin"s. the first overtone intensit& has been increased%
A special humani=ation feature allows the stri#e point to vary as if it was played "y a
human musician% This feature is particularly suita"le for the chromatic percussion
instruments% :ight clic# on the stri,e point slider and select humani=e% ;ou can ad$ust
the range of the random variation on "oth sides of the mean stri#e point%
(*
+ >oicing panel 6electro0
acoustic7
The tone sources 6reed, tine, "ar7 of an electro0acoustic piano are struc# "y hammers or
mallets whose hardness can vary, depending on the material that is used% ere again, as
for acoustic pianos, Pianoteq provides a voicing panel that offers the following
parameters9
>ammer hardness , spectrum profile and hammer noise wor# in the same way as with
acoustic instruments%
(+
4 >oicing panel 6clavinet7
The clavinet wor#s much li#e a clavichord% &hen a #ey is depressed, a small ru""er tip
stri#es the string and presses it on to an anvil% It contains two sets of pic#ups, positioned
a"ove and "elow the strings, and is usually electronically amplified%
The voicing panel of the clavinet lets you choose among the four standard pic#ups
settings9
A0C9 ?ower pic#up
=0C9 4pper pic#up
A059 "oth pic#ups
=059 "oth pic#ups "ut out of phase%
8ven more, it lets you ma#e any continuous change "etween these four settings "y right0
clic#ing on the two C5A= "uttons%
The original register switches for tone colours =rilliant 6shortened to U=rightU7, Tre"le,
Medium, Soft are also availa"le%
>ammer hardness , spectrum profile and hammer noise wor# in the same way as they do
with acoustic instruments%
(4
- 5esign panel 6acoustic7
This panel offers controls over piano design parameters such as string length or
sound"oard characteristics 6the sound"oard is the wooden plate which transmits the
string vi"rations to the air%7
-%1 Sound"oard
Dn a real piano, you cannot change the sound"oard mechanical impedance +% &ith
Pianoteq, it "ecomes very easy9 it is $ust one of the design parameters% ;ou can control9
The sound"oard mechanical impedance9 the greater the impedance, the longer
will decrease%
A parameter which greatly affects the tim"re 6and the tuning7 is the so0called
inharmonicit& 9 the more inharmonic the strings, the more the overtone fre!uencies of
each string are driven away from their theoretical values f. 7f. @f and the more the
piano sound will resem"le a "ell%
Inharmonicity decreases very rapidly with string length% 8periment "y changing the
Strin" len"th % The difference will "e most evident in the "ass range% ;ou can choose up
+
That is, how the sound"oard resists the string vi"rations, and thus amplifies the sound%
(-
to a 1K meter long pianoJ At such a si3e, there is almost no inharmonicity% <eople say
that piano manufacturers dreamed of producing pianos without inharmonicityL
8periment "y pressing down a few #eys very slowly so that they do not produce any
sound, and then, without pressing down the sustain pedal, play a few notes staccato%
;ou will hear the resonance introduced into the first depressed notes% If you release
these notes, the sound will stop%
;ou can also do the ?opposite@ eperiment% <lay a note loudly and hold it, press silently
another note, and release the first note9 it continues resonating in the second note%
-%* =looming
The 5loomin" parameters, first designed for steel drums, can also "e used for the other
instruments, allowing to create new sounds% The ?"looming@ effect that characteri3es
the tim"re of the steel drums arises from the non linearity of the mechanical response
of thin steel sheets% 5uring the attac#, some energy is transferred from lower to the
higher overtones, producing a ?"oiinng@ sound% Two parameters control this effect9
The bloomin" ener"& parameter controls the amount of mechanical energy which
is transferred from lower to higher overtones,
The bloomin" inertia parameter controls how fast this energy is transferred9 the
higher the inertia, the longer it ta#es to "e transferred%
(
5esign panel 6electro0
acoustic7
The tines that serve as resonator in certain electro0acoustic pianos produce a typical
noise when hit "y the hammer during the attac#, or "y the damper during the release%
In the Pianoteq 8lectric <ianos /inta"e Tines M0I and /inta"e Tines M0II , these two
noises can "e controlled separately "y the Tine noise hammer and the Tine noise
damper parameters%
Impedance and s&mpathetic resonance wor# in the same way as with acoustic
instruments%
ere again, the 5loomin" parameters, first designed for steel drums, can "e used for the
electro0acoustic instruments, allowing to create new sounds% See in particular the ? M0I
5loomin" -rit @ preset%
)K
1K >elocity panel
Dn the left side of the Audio 8ngineering section, you can find a velocit& control curve,
allowing you to ad$ust Pianoteq to your #ey"oard% ;ou can add or remove control points
6dou"le clic# to remove7 and modify the curve "y moving them with the mouse% The
upper menu lets you separately ad$ust /elocit& , Note3off , edal and Aftertouch
velocities%
A right clic# on the velocity graphic opens a menu where you can select and manage
velocity presets%
The calibration "utton opens the 0e&board calibration assistant which will help you
ad$ust Pianoteq to your #ey"oard and pedal and to your own playing style% &e strongly
recommend that you follow that procedure at least once% See also tutorial 1(%)%
The reset "utton resets the displayed velocity curve to the default curve%
If your digital #ey"oard is not e!uipped with Aftertouch, you still can test Pianoteq@s
Aftertouch "y clic#ing with the mouse on its graphical #ey"oard and dragging the cursor
vertically a"ove the #eys%
)1
11 Dutput panel
A menu that allows you to choose from among four recordin" modes 9
stereophonic, monophonic, sound recordin" and binaural% The sound recordin"
mode lets you set !irophone positions for acoustic instruments% The binaural
mode includes a head !odel and is mostly intended for use with headphones%
The stereophonic and monophonic modes are used with electro0acoustic
instruments and also allow compati"ility with previous <ianote! versions% Clic#
on save as for saving your microphone settings%
A volume >2 meter, e!uipped with a limiter than can "e turned onoff "y a
simple clic#% =y reducing high amplitudes, the limiter is intended to avoid crac#s
that may appear when the amplitude is too high 6in such a case, the clipping led
to the right of the vu0meter shows up7%
The sound volume% ;ou can ad$ust it note "y note via a dou"le clic# on the slider%
The sound d&namics, which controls the loudness level "etween pianissimo and
fortissimo% Since it is applied to each note, it can "e seen as the ideal
o!pressor for it allows you to ad$ust the dynamics without any distortion% In
particular, the attac# and decay of individual notes are not modified%
Ten types of pedals that can "e assigned to the four user interface pedals 6you
can change the default assignment for each pedal "y right0clic#ing on the pedal7%
)'
11%1 <edals
The ten pedals that can "e used are the following9
o Una corda pedal, also called soft pedal% It moves the piano action to the
right 6on grand pianos7, so that the hammers stri#e the strings differently,
changing the timbre of the notes,
o Sostenuto pedal, allows you to hold some notes after release without
pressing down the sustain pedal% 5epress some #eys, depress the
sostenuto pedal, release the #eys, and the sound of the notes will
continue as long as the sostenuto pedal is down% Chec# UIgnore the
sustain pedalU if you do not want the sostenuto pedal to capture the
dampers lifted "y the sustain pedal,
o Super Sostenuto pedal, where the notes held "y the sostenuto can "e
replayed staccato, which is not possi"le on a UrealU piano,
)(
o Sustain pedal, which lifts the dampers, letting the strings ring after the
#eys are released% =eing progressive, it allows the so0called ?partial
pedals@4,
o 5uff Stop pedal, where a wooden "ar covered with leather or felt is
pressed against the strings, softening and shortening the tone% It can "e
found in some harpsichords and historical pianos% Dn a real harpsichord,
the "uff stop generally acts only on one register, leaving the other
registers untouched% In <ianote!, you can select which registers are
affected "y the "uff stop pedal% This can "e done via a right clic# on the
register "uttons 6B-, 2-, )7, which gives you also access to the level and
detune of each register9
o inch >armonic pedal, which produces harmonics "y shortly touching the
string at a specific point on new notes, producing harmonics% Also #nown
"y harpists as flageolet%
4
If your piano supports a fine enough MI5I progression when using the sustain pedal%
))
11%' A sound radiation physical model
The Pianoteq instruments are "ased on a physical model of the sound"oard and its
radiation% It simulates the sound field generated "y the instrument, and thus allows you
to place !irophones anywhere around the piano, or $ust a"ove the sound"oard, or
even "elow the piano if you want% The acoustic pressure and pressure gradient are
measured where you place the microphone, which allows to simulate omnidirectional
microphones as well as directional microphones%
A head !odel is also provided9 here, an additional treatment is applied to the sound
pressure registered "y the ears of the listener% It can provide an increased realism when
listening with headphones%
)*
11%(%1 Microphones and microphones techni!ues
Several types of virtual microphones are availa"le, such as omnidirectional, cardioid and
figure -, to choose from a range of well0#nown microphone "rands9 2-4 6omni, cardio
and fig-7, 5<A0)KK+0)KK40)K110)K)1, C)1) 6omni, cardio and fig-7, CMC+0MH'0MH), S0
1'0'), :-), as well as two UperfectU microphones 6they capture the acoustic field
generated "y the model without any distortion7 9 perfect0omni et perfect0fig-%
)+
To ma#e it easier moving several microphones, you can lin# them together, either "y
the +in, to command from the microphones menu, or "y dou"le0clic#ing in "etween the
microphones you want to lin#% Then you can move them, rotate them and ad$ust their
distance to each other%
=y right0clic#ing in the mic area, you can save your mic settings as a Mic% reset and
load those you have created%
A= /; D:T MS
)4
11%(%' Mi ta"le
The mi ta"le allows you to mi the microphones into the different output channels% or
each active microphone and each active channel, you can ad$ust the volume, the delay
and the polarity that you want to "e applied "y clic#ing in the corresponding cell 6right
clic# opens the popup7% <olarity is reversed when $eversed polarit& Z 1% &hich channels
are active depend on your audio configuration%
)-
11%(%( Compensation
&hen switched on, +evel compensation and !ela& compensation compensate
respectively for the level and delay on each line connecting a microphone to a channel%
&hen switched off, the raw sound from the microphones is heard9 the volume decreases
with the distance from the piano while the delay increases% In "oth cases, level and
delay that you ad$ust in the mi ta"le are relative to the chosen configuration%
)
11%(%+ =inaural mode
If you have selected the binaural mode, you can choose the position of the listener
around the piano% The "inaural mode involves physical modelling of a dummy head% ;ou
can rotate the head in any direction, and you can even increase its si3e 6for "ig headed
people only7%
The net graphic gives an idea of how ?flatness@ can vary with the position9 the lower a
point of the surface, the flatter the response "ecomes%
*K
1' rom action to effects
The lower right panel gives access to the Action. Mallet 5ounce. 2quali=er and 2ffects
settings% The "uttons "elow it provide a shortcut for ena"lingdisa"ling the selected
effects and the rever"%
1'%1 Action
ere you can ad$ust several parts of the piano action9
!amper position 9 when a note is released, the damper falls "ac# on the strings
and each overtone decays more or less rapidly depending on the damper position%
It is particularly noticea"le in the "ass notes when using partial pedals 6and also
with #ey"oards sending varia"le #ey release velocity7,
!ampin" duration 6efficiency of the dampers7,
+ast damper 9 all #eys with MI5I note num"er greater than this value have no
damper,
Mute9 ma#es the dampers more or less press onto the strings,
0e& release noise.
Sustain pedal noise 9 ?whoosh@ when all dampers rise together, as well as when
they fall%
*1
;ou can ad$ust the way the mallet "ounces on the "ar 6or on the cim"alom strings79
Initial dela& 9 ad$ust the delay for the initial "ounce
/elocit& sensitivit& 9 the higher the sensitivity, the longer the first "ounces at
high velocity 6the ?drop height@ has increased7
!ela& loss9 ad$ust the amount of delay loss from one "ounce to the net one
/elocit& loss9 ad$ust the amount of velocity loss from one "ounce to the net one
>umani=ation9 ad$ust the random variation of all these parameters%
1'%( 8!uali3er
Contrarily to the 2qu@ effect 6cf% Section 1'%)7, this equali=er wor#s in pre0processing
6modifying the model before computing sound7% The fact that it wor#s in pre0processing
allows automatic volume compensation9 for eample, when increasing the medium
spectrum, it will increase the medium fre!uencies in each note while #eeping the
natural "alance across the #ey"oard% In other words, the middle notes will not get
suddenly louder than the other ones% Another advantage of pre0processing is that it
allows very fine variation in the 8E curve, unli#e on a standard ( "and 8E% ;ou can add
6clic#7 or remove 6dou"le clic#7 control points and modify the curve "y dragging them
with the mouse%
1'%) 8ffects
The effects panel lets you chain three effects that can "e switched if wanted%
*'
The effect menus allow you to select among the following effects9 Tremolo. Wah.
Chorus. *lan"er. haser. !ela&. Amp. Comp. 2qu@ %
In the Tremolo effect, you can control the shape of its BD "y draging the mouse
hori3ontally and vertically over the Shape curve%
In the Wah effect, the Wah slider itself is the direct controller of the 6ah36ah effect
6right clic# on it and clic# on MI!I to assign it to a MI5I controller7% In Auto3Wah mode,
the Wah is modulated "y the amplitude of the sound% Specific Wah controllers9
Sensitivit& 9 Auto3Wah is disa"led when the slider is at the etreme left% The
more you push it to the right, the lower the amplitude which starts triggering the
Wah effect
!epth9 controls the upper limit of the fre!uency shift for the 6ah36ah filter%
*(
Similarly, in the haser effect, the hasin" slider is the direct controller of the phaser
effect% Specific haser controller9
Intensit& 9 the width of the fre!uency sweep, ranges from K^ to 1KK^%
*)
The 2qu@ effect is a simple (0"and parametric e!ualiser% 5ragging control points on the
interface will change the cutoff0fre!uency and the gain of each "and% <ressing the
.shift. #ey while dragging will change the E factor of each "and%
1'%* :ever"eration
A new convolution rever"eration unit simulates acoustic surroundings ranging from
Studio up to very long rever"s li#e Cathedral or Ta$ Mahal% It includes other types of
rever"s such as <late, Spring, Spea#ers, =roceliande%%% In PIANOTEQ &TANDARD or
PIANOTEQ PRO, you can even load your own rever" impulses via +oad WA/ impulse in
the reverb menu%
**
1( <ractice
And now, a few tutorials to help you understand how Pianoteq wor#s% &e will learn how
parameters influence the sound% It is important to notice that Pianoteq also lets you
produce new sounds which could never "e o"tained from a real instrument%
owever, having the three strings perfectly in tune is not necessarily "est% If you push
the slider completely to the left, the three fre!uencies of each unison will match almost
perfectly, "ut you will find that the sound "ecomes uninteresting% It sounds too ?clean@Y
it lac#s life% So, how should it "e tunedP There is no universal truth in such an aesthetic
matter% That is why Pianoteq, for the first time in a digital piano, lets you ad$ust the
unison tuning to your own tasteJ
&hen changing unison 6idth , you may also find it interesting to change the direct sound
duration, reducing it if you have reduced unison 6idth and vice versa% D"serve that the
closer the strings are to "eing in eact unison, the faster the direct sound will decay and
the slower the remanent sound will decay%
2nison tuning is not the only feature that affects tuning9 another !uestion is how
intervals, that is, the fre!uency ratio "etween two different notes, are tuned% The
tuning of all the intervals within an octave is called a temperament%
Dver the years, many different temperaments have evolved% The most commonly used
today is the e!ual temperament, in which all semitones are e!ual% owever, a few
hundred years ago, people used many other temperaments, some of which you can
choose in the temperament menu% Try playing them% ;ou may find the difference not so
evident when playing single notes, "ut much more prominent when playing chords,
some of them having a nice consonant sound, whereas others having a !uite harsh
sound%
*+
1(%' Tutorial '9 voicing
The main o"$ective of piano voicing is setting the "rightness of the sound "y ad$usting
the hammer hardness% 5ifferent music may re!uire different voicing% The /oicin" panel
contains three hammer hardness sliders% Try first moving the me==o slider, which acts
on the hammer hardness around MI5I velocity +)% Moving it to the left, you will o"tain a
softer sound, whereas moving it to the right yields a "righter sound9
Dnce you are familiar with these sound changes, you can try the other two sliders acting
at piano level and forte level respectively% ;ou may also want to eperiment with using
the hammer noise parameter in con$unction with this hammer hardness setting% ;ou
can, for eample, set the hammer hardness to very soft, "ut increase the volume of the
hammer hitting the string using the hammer noise settin"% In other words, reducing the
hardness of the hammer doesn.t mean that you have to lose the percussive sound of the
hammer as you reduce the "rightness of the sound% Dn the other hand, you may want to
have hard hammers to ma#e the tim"re "right, "ut at the same time reduce the volume
of the percussive #noc# of the hammer hitting the strings%
>oicing is not independent from tuning, for shaping the sound during tuning can "e
considered as voicing% 5o you want to o"tain longer decayP Then you can9
Act directly on tuning "y reducing the unison width in the Tunin" panel,
Act indirectly on tuning "y increasing the direct sound duration,
Act on design parameter "y increasing the sound"oard mechanical impedance in
the !esi"n panel%
*4
1(%(
1(%( Tut
Tutori
orial
al (9 sound"
sound"oar
oard
d design
design
Sound"oard impedance plays a crucial role in piano design% &hat is the sound"oard
mechanical impedance P &hen a periodic force is applied to the sound"oard, the wood
oscillates with a certain velocity at the same fre!uency as the applied force% The
sound"
sound"oar
oard
d im
imped
pedes
es 6re
6resis
sists7
ts7 wit
with
h its ine
inerti
rtia,
a, ela
elasti
stici
city
ty an
and
d res
resist
istanc
ance9
e9 thi
thiss is the
mechanical impedance,
impedance, which has a ratio of force 8 velocit& %
Typically, a high impedance results in a long sound "ecause the energy is only slowly
transmitted from the strings to the sound"oard, and vice versa% igh impedance yields
long "ut wea# sounds whereas low impedance yields strong "ut short sounds% ence
piano
piano man
manufa
ufactu
cturer
rerss hav
have
e to fin
find
d a com
compro
promis
mise
e "et
"etwe
ween
en sou
sound
nd lev
level
el and sou
sound
nd
duration%
&ith Pianoteq%s solution, you are free to amplify the sound as much as you want% There
is no more compromise% ;ou can set the impedance, adapting it to the sound duration
that you want9
The first
first slider,
slider, impedance, acts glo"ally on the impedance at all fre!uencies%
Moving it to the right will result in longer sounds and vice versa%
The mechanical impedance depends on the fre!uency% The impedance is usually !uite
high "elow a certain fre!uency called the cut3off frequenc& , a"ove which it drops down
with a slope called the ? factor 9 the rate at which impedance is reduced and thus the
rate at which the sound decreases in length% igher fre!uencies decay more rapidly than
lower fre!uencies% ence9
Moving the second slider, cutoff , to the right will increase the cut0off fre!uency,
and thus increase the num"er of high overtones that are long%
Moving the third slider, ? factor , to the right will increase the impedance slope,
and thus decrease the duration of the overtones a"ove the cut0off fre!uency%
Moving it to the left will instead allow these overtones to decay more slowly,
prolonging the initial "right sound $ust after the attac#%
8ample9 if you li#e emphasi3ing the sound of the strings, you can reduce the ? factor %
Alternatively, you can increase the impedance or the cutoff %
*-
1(%) Tuto
Tutorial
rial )9 adapti
adapting
ng <ianote!
<ianote! to
to your
your #ey"oard
#ey"oard
or demanding pianists, it is of utmost importance to adapt Pianoteq to the #ey"oard in
the "est possi"le way%
&tep .7 If your #ey"oard has its own velocity settings, choose the one you li#e the
"est in general%
&tep 7 If necessary, ma#e further ad$ustments of the velocity curve "y moving
the control nodes of the curve or adding new ones%
8urther adBust!ents
Some further ad$ustments can "e made that depend on the instrument you are playing9
&tep 57 Select the dyna!is that you want to use, typically "etween 'K d= and
+K d=d=%% Me
Meas
asur
urem
emen
ents
ts ma
made
de on acacou
ousti
sticc pi
pian
anos
os sh
show
ow a dy dyna
nami
micc ra
rang
nge
e of
approimately *K d=% In piano recordings, due to compression
compression,, the dynamic range
is often much narrower% In Pianoteq, when changing dynamics, the forte volume
remains constant while the lower amplitudes are raised or lowered%
;ou are now ready to play% Note that steps ( to * can also "e used to adapt Pianoteq to
a given MI5I file in the
t he "est possi"le way%
*
1(%* Tuto
Tutorial
rial *9 differe
difference
nce "etween
"etween spectr
spectrum
um profile
profile
and e!uali3er
&hat is the difference "etween the spectrum profile 6see tutorial '7 and the e!uali3erP
Bet.s loo# at an eample% Dpen the /oicin" panel and set the first two spectrum "ars
respectively to Q+ d= and Q( d=9
&hat happens to the soundP All notes are modified9 for each note, the fundamental has
"een increased "y + d= and the second overtone "y ( d=% The piano sound has "ecome
glo"ally softer "ecause the higher overtones now have a lower amplitude relative to the
fundamental and the second overtone%
2sing several
2sing several undoBs, put the spectrum "ars "ac# to their original values, and now
ad$ust the e!uali3er curve, increasing it from K d= to 1K d= when going down from 'KK
3 to +' 39
The resulting piano sound will have more "ass, with an unchanged middle register and
tre"le notes%
+K
1) <ianote! <ro
Pianoteq Pro is the advanced version of Pianoteq% It includes the following additional
features9
Note per note ad$ustment for physical parameters9 tuning, unison width, hammer
hardness, stri#e point, string length, spectrum profile, sound"oard impedance,
damper position%%% This note per note ad$ustment is availa"le in the Standard
version only for tuning and volume%
Sample rates availa"le up to 1' #3 6limited to )- #3 in the Standard version7%
=e aware that a high sample rate will generate a massive increase of C<2 load%
+1
;ou access the Note 2dit window "y clic#ing on the Note 2dit "utton or "y dou"le
clic#ing on an ?edita"le@ slider% ;ou can drag the Note 8dit window anywhere on your
screen and open several new windows, allowing you to wor# on several parameters at
the same time as you can see in the picture a"ove, where Unison 6idth and !irect
sound duration are "eing ad$usted%
D"serve the handles that let you perform some more glo"al changes on the curve% These
handles are located on specific control notes that you can selectunselect "y a dou"le
clic# on the control rail "elow the graphic% These control notes are shared "y all
parameters ecept the special case of the spectrum profile which is descri"ed in the
net section% or fine tuning, press the Shift #ey while moving a point of the curve%
Clic#ing outside a control note lets you modify any other note individually%
Convenient tools are provided that allow you to modify a given shape9 random. smooth
and rescale% Clic# and drag the mouse around the "utton to vary the degree of the
effect 6see also the tips that are provided on the interface7% The reset "utton resets all
parameters to the saved settings of the preset 6contained in the fp file on the hard
drive7%
Dvertones can "e modified individually, "ut also in different com"inations called
harmonic. comb. maor. octave %%% >arious draw modes named simple dra6 , haircut and
fill onl& are also provided% All these features are grouped in the same menu on the
right, la"elled simple dra6 at first access%
+'
The spectrum profile has its own set of control notes that you can selectunselect "y a
dou"le clic# on the control rail "elow the graphic% They are independent of the control
notes used "y the other parameters%
Dutside the control notes, the spectrum profile is linearly interpolated, and you can
o"serve the intermediate values "y clic#ing on the corresponding note on the control
rail%
1)%'%1 8ample 1
If you set a single control note and increase its third overtone "y + d=, all of the notes
will have their third overtone increased "y + d=9
+(
1)%'%' 8ample '
ere W starting with a reset to clear everything W since we wanted only the middle C to
"e modified, we added ' control notes on each side to prevent the interpolation from
?propagating@ to the other notes9
%%% you can alter only the middle note if you want to prevent your edit from spreading to
the notes a"ove or "elow it%
+)
1)%'%( 8ample (
In this last eample, we modified the middle C and the C "elow, and we o"serve how
the intermediate notes are interpolated9
+*
1* Appendi9 temperaments construction
MATLAB programs for some <ianote! "uilt0in temperaments-% Inputs are e!ual tempered
fre!uencies f 6which may "e stretched7 and corresponding MIDI num"ers%
%-------------------------------------------------------------------
function f = pythagore(f,MIDI)
%-------------------------------------------------------------------
delta = 3!!"(#$!)
ratio = delta&"'-3 - -$ - $ -* 3 -! -# + - !
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = 1arlino(f,MIDI)
%-------------------------------------------------------------------
ratio!2 = '$ !!* 3!!# * *3 *3! 3! !$ 3 $ $
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = /e6otonic(f,MIDI)
%-------------------------------------------------------------------
7 = "($*)
ratio!2 = '$ .7"3$ 7"!! *.7 * !7 .7"! 7 &&&
!$ 7"3! *.7"! .7*
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = 8ellte/pered(f,MIDI)
%-------------------------------------------------------------------
7 = /a9(real(root6('$ + + ! -))) a = ($!7")"($#)
ratio!2 = '$ a"!.7"$ 7"!! a"*.7"3! 7"** !a a.7" 7 &&&
a"3.7"$ 7"3! *a"! a.7"**
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = 8erc:(f,MIDI)
%-------------------------------------------------------------------
ratio!2 = '$ !!*3 $&$$#* 3!!# $&!! *3 $+!*#! $&** &&&
$!$ $&#+* $ $&#!
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)
-
Some of these temperament definitions derive from ?5er <iano und lgel"au, er"ert
unghanns, >erlag 5as Musi#instrument ran#furtMain, 14@
++
1+ Special ac#nowledgements
1+%1 Instrument providers
Michel Armengot, rance 6electric piano C<0-K7
<aul =adura0S#oda, Austria 6pianoforte &alter7
:o"in =igwood, 2H 6harpsichords rimaldi, =lanchet7
% =lthner <ianofortefa"ri# m", ermany 6=lthner Model Dne grand piano7
Dlivier Cussac, rance 6:hodes MH1, &urlit3er 'KKA, Clavinet ohner 5+, Toy
<iano Michelsonne7
<ascal aillard 6Steel 5rum7
Buigi aggero, Italy 6Cim"alom =al_3s Hov_cs7
Marc uilliou 6Spacedrum, and <and, Tan# 5rum7
rotrian <iano Company m", ermany 6rotrian Concert :oyal grand piano7
aendelhaus, ermany 6pianoforte Schmidt7
Modartt SAS, rance 6Steinway =7
Moni!ue Nie"isch, rance 6grand piano 8rard7
Drchestre du Capitole de Toulouse, rance 6celesta, gloc#enspiel, marim"a,
ylophone7
5aniel <arisot, rance 6Steinway 57
ein3 <reiss, Hremsegg Schloss Museum, Austria 6clavichord9 Neupert%
<ianofortes9 Sch`ffstoss, Schant3, raf7
Hlaus <% :ausch, ermany 68lectra0piano, <ianet T7
&arm than#s to our "eta testers, who helped us greatly in improving our instruments%
&ithout their intensive participation, their constructive criticism and enlightening
advice, Pianoteq wouldn.t have "ecome the en$oya"le instrument which you are
playing%
Many than#s also to our customers and distri"utors for their support and all others who
supply us with valua"le opinions and ideas%
+4
,o!pany
MD5A:TT is a company that develops and provides software, hardware and consulting
services for artistic and technological applications% MD5A:TT also supports the HI>i:
pro$ect 6Hey"oard Instruments >irtual :estoration7, offering digital restoration of
historical #ey"oard music instruments in museums% <lease visit our we"site
www%pianote!%com for further details%
Authors
<ianote!9 <hilippe 2IBBA2M8 and ulien <DMMI8:
Artwor#9 :ichard =A:AC8TTI and uillaume DB;
2ser Interface9 uillaume DB;
Manual9 Niclas D&ABB and <hilippe 2IBBA2M8
8diting and proofreading9 regg DNSDN
Intelletual property
<ianote! is a trademar# of MD5A:TT S%A%S%, 1K, avenue de l.8urope, (1*'K :amonville Saint Agne, rance%
Cu"ase, ASID, and >ST are trademar# of Stein"erg Media Technologies m"
T<ACH v)% Copyright 6c7 'KK) the 2niversity Corporation for Atmospheric :esearch 6U2CA:U7% All rights
reserved% 5eveloped "y NCA:s Computational and Information Systems Ba"oratory, 2CA:,
www%cisl%ucar%edu%
:edistri"ution and use of the Software in source and "inary forms, with or without modification, is
permitted provided that the following conditions are met9
0 Neither the names of NCA:s Computational and Information Systems Ba"oratory, the 2niversity
Corporation for Atmospheric :esearch, nor the names of its sponsors or contri"utors may "e used to endorse
or promote products derived from this Software without specific prior written permission%
0 :edistri"utions of source code must retain the a"ove copyright notices, this list of conditions, and the
disclaimer "elow%
0 :edistri"utions in "inary form must reproduce the a"ove copyright notice, this list of conditions, and the
disclaimer "elow in the documentation andor other materials provided with the distri"ution%
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+-