Excellent video. Pedagogical approach since you not just explaining the settings but describing a thinking, bringing some concepts. Relevant content, while being very pleasant. I subscribe right away.
Subscribed. Great info and playing. I've used Pianoteq for years and it keeps getting better. In addition to the tips you mentioned for approaching your personal idealized piano, I've been experimenting with MIDI CC control of various Pianoteq parameters. You can get creative with subtle or extreme changes in multiple parameters simultaneously as well as using a time-based modulation VST prior to Pianoteq. Primarily though I do love the way it can put a real "organic" acoustic piano under your fingertips. I have investigate your other videos.
Thanks for your various Pianoteq videos, Phil. They're always very informative and sensible and your playing is pretty extraordinary. You really demonstrate that Pianoteq sounds great if it's played well. Personally, I gravitate towards the NY Steinway Prelude preset.
As usual, Phil - Your Video again is as instructive as entertaining - having tried to copy Your Model-B settings I fell in love with Solid and Tinkly - thanks and kind regards, Paul
Perhaps the only dissatisfaction I have with Pianoteq 7 is the "digital tone" it has, especially around the middle C region, it is even more evident when hitting notes harder (i.e. 4:22, 4:56, etc) regardless of your tweaking which was good. I have a comment in the video "Erik Satie - Gnossienne No. 1" from The Flaming Piano channel which on minute 1:00 shows exactly what I am talking about. ps: I have version 7 Stage + Steinway D
Oh my god, yes. For all the different sounds I produce with Pianoteq, I touch velocity a lot less. Your hands adjust to whatever you're playing, and locking yourself in to a velocity can limit your adaptability to the variability in pianos. The worst with acoustic pianos is when the piano just won't play softly. The worst brand I've ever found for this was Chickering. If I were to buy a Chickering, I would have the action completely redone because they are beautiful, but literally every single one's action starts at Mezzoforte when you're gently tickling it. I actually backed out of a recital once (11-12 years ago in high school, I'd suck it up now) because of the action of a Chickering. My biggest suggestion/preference in this area is to get used to playing with a WIDE response range, so that you get good at playing soft and loud in the same piano. That is, you don't want to play a soft piano as a crutch for not having a delicate touch. You want to develop the delicate touch FIRST so that you can play softly. Looking at historical pianos, especially the pianoforte, it's clear that the variability between the timbre of loud and soft used to be more pronounced, so that's also a consideration in velocity/hardness adjustments. Also, yay, you finally published a preset you made! I'm going to start doing this myself soon, I think, and start putting out some videos on the modification topic. One thing you might try is using a reference piano - if I put out a video, I think this would be one of my first order recommendations, which is to utilize pianos in recordings that you like as a reference, especially if it's a piece you can play so that you can tweak it until you find some of the characteristics that you like in a piano. Worth noting on your second piano is that the curve forces more of the velocity into the mezzoforte range. Interesting stuff I've discovered: -Steinway Model D is overly sensitive to impedance. -Bluthner, so far, seems to respond the most effectively to tweaking parameters. So, if I hear a concert recording and I'm trying to capture some elements of that recording and I adjust parameters, the Bluthner seems to be able to replicate these sounds more closely. -Historical pianos that have their parameters adjusted to sound more modern are a GREAT way to get a new sound that sounds like a unique, beautiful piano. The 1899 Bechstein is great for this, as well as the Erard pianos. I got standard, but I might upgrade to pro, because I'm finding that some of the adjustments adding higher overtones make the lower notes crisp and strong, but can make the upper register buzz just a little too much. That per-note edit is actually necessary. Sympathetic resonance REALLY makes a lot of the notes sound a lot more real-to-life.
You're so right, the scope and potential for exploration and discovery is huge. I think I'm just waking up to it now. The possibilities are a little daunting! I agree that wide ranging response is the best. Thanks for the very interesting comment!
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When comparing you could also click the [A B] icon you have to the left of the Steinberg Solid text above, that way we can see more clearly what's changed as you show us the screen. Just saying. As usual great playing.
Thanks! I considered going even further than that and show the changes as I made them in real time but I couldn't see a way to automate velocity changes. I found a plugin that did it in principle but trying it crashed my computer! :-(
I find the both the velocity curve and the hamer hardness difficult to understand on Pianoteq. The hammer hardness is the most difficult to understand particularly has it relates to a genuine felt hammer. Listening to your demonstration, it appears to me your second performance is bring out the upper partials. I'm not sure. I wish Piano would make a video on how to adjust each setting and how it affects the tone. I love Pianoteq more than than the two Chickering grands I have, but I honestly don't know exactly what all the adjustments do. I only recommend the "Pro" version as that is the only version that allows for every parameter adjustment on every note, which I have found to be extremely valuable.
The possibilities and variables are indeed daunting. But I'm starting to think it's fun to experiment. When piano technicians voice the hammers, the changes to the way the instrument plays can be so startling. It's this kind of change that I'm beginning to see is possible. The truth is, piano tuning and regulation is a very sophisticated art and some of the people who do it have real genius! I am a mere dilettante. It's nice to dabble inside the safety of Pianoteq though!
Hello, I watched some of your Videos about Pianotech 8. And in the background I saw a Roland V Piano. This is the one, that I wanted to get for several years. What do you think about this Roland Piano ? And in relation to pianotech? Thank you for an answere. M. Blank Hamburg
The V-Piano was the first digital piano that I enjoyed playing. The combination of its action and the physically modelled sound was wonderful (still is!). In my Fantom 8, which has a better action, the V-Piano sounds have evolved and they are better than in my old V-Piano but I do slightly prefer Pianoteq's sounds. I still like the V-Piano though!
Thank you Phil for these very informative videos! Do you make these presets available on the Pianoteq forum as FXP files? That would be great - and save me squinting at my screen trying to line everything up . haha :)
My pleasure. The player version in this demo is the NY Steinway D Classical Recording preset but with the mics moved to the player position (that's the position of the Prelude preset - you can save the mics position as a preset too), the reverb reduced to zero, and the stereo width reduced to zero and that's it. The final recording is the Classical Recording preset unchanged.
@@PhilBestMusic I meant that the improvement in sound between Pianoteq 6 and Pianoteq 7 is very noticeable. I actually went from Pianoteq 5 which required a lot of tweaking.. But this version seems to be fantastic straight out of the box!
What would be Handy (meaning Not W.C. Handy but useful) would be to add a downloads area to your web site and drop you custom presets there. It's easier than guessing your tweaks. :-)
Maybe ;-) But thta's kind of missing the point of this vid. I'm not saying that my presets are good but that I enjoy using fluent musicianship skills that enable me to relate to different, even problematic things, in different pianos. Many people often ask me about how to create the ideal velocity curve: I say the best velocity curve is the one you're playing with right now. Every piano is different and that's the fun of it! My advice is to relax, play from the body and find the flexibility to respond to any curve, within reason.
@@PhilBestMusic I didn't mean the velocity as that depends on the keyboard. I meant the other tweaks because after it's been mangled by MP4 and again by YT storage we don't hear what you hear. It would be nice to hear it directly from Pianoteq - if you see what I mean.
Inspiring! That second improv felt like spring and hope to me. Smile on my face for the rest of the day you placed. Merci! :)
That's so nice to know, thank you!
Excellent video. Pedagogical approach since you not just explaining the settings but describing a thinking, bringing some concepts. Relevant content, while being very pleasant. I subscribe right away.
Thanks very much!
Subscribed. Great info and playing. I've used Pianoteq for years and it keeps getting better. In addition to the tips you mentioned for approaching your personal idealized piano, I've been experimenting with MIDI CC control of various Pianoteq parameters. You can get creative with subtle or extreme changes in multiple parameters simultaneously as well as using a time-based modulation VST prior to Pianoteq. Primarily though I do love the way it can put a real "organic" acoustic piano under your fingertips. I have investigate your other videos.
Thanks very much! I love the sheer variety too!
I messed around a lot with pianoteq settings. You play beautiful!
Thank you!
I love the way you rotate while playing :D
Haha! It's the rhythm!
Thank you for this enlightening presentation.
Warmest regards,
Chris (Lincoln UK)
Thanks Chris! Glad it was helpful.
Thanks for your various Pianoteq videos, Phil. They're always very informative and sensible and your playing is pretty extraordinary. You really demonstrate that Pianoteq sounds great if it's played well. Personally, I gravitate towards the NY Steinway Prelude preset.
Many thanks! That's my favourite preset too!
This Pianoteq 7 velocity is way better than Pianoteq 6 that hard to get done. The bell also sound longer which close to real Piano. Amazing update 👍
I certainly like it! :-)
As always, very interesting information on Pianoteq... now it is time to do some tweakings on mine!
Go for it!
As usual, Phil - Your Video again is as instructive as entertaining - having tried to copy Your Model-B settings I fell in love with Solid and Tinkly - thanks and kind regards, Paul
Thanks Paul! Glad you liked those settings!
man that studio kicks ass! somewhat jelly
Thanks man! Most of it is hidden inside the PC software but I love my Roland pianos and Roli Seaboard!
I didn't realize Harry Potter became the music professor at Hogwarts later in life. Good to know! 🙂
Great video.
:-)
Perhaps the only dissatisfaction I have with Pianoteq 7 is the "digital tone" it has, especially around the middle C region, it is even more evident when hitting notes harder (i.e. 4:22, 4:56, etc) regardless of your tweaking which was good. I have a comment in the video "Erik Satie - Gnossienne No. 1" from The Flaming Piano channel which on minute 1:00 shows exactly what I am talking about.
ps: I have version 7 Stage + Steinway D
You need at least standard
Your playing is so surreal!! Thank you for the video
Btw, why don't you try composing your own album of piano originals, it would be amazing!
ohh never mind, you already have one, my bad
Thanks very much! Yes I've released 3 so far - lots more to come!
Oh my god, yes.
For all the different sounds I produce with Pianoteq, I touch velocity a lot less. Your hands adjust to whatever you're playing, and locking yourself in to a velocity can limit your adaptability to the variability in pianos. The worst with acoustic pianos is when the piano just won't play softly. The worst brand I've ever found for this was Chickering. If I were to buy a Chickering, I would have the action completely redone because they are beautiful, but literally every single one's action starts at Mezzoforte when you're gently tickling it. I actually backed out of a recital once (11-12 years ago in high school, I'd suck it up now) because of the action of a Chickering.
My biggest suggestion/preference in this area is to get used to playing with a WIDE response range, so that you get good at playing soft and loud in the same piano. That is, you don't want to play a soft piano as a crutch for not having a delicate touch. You want to develop the delicate touch FIRST so that you can play softly.
Looking at historical pianos, especially the pianoforte, it's clear that the variability between the timbre of loud and soft used to be more pronounced, so that's also a consideration in velocity/hardness adjustments.
Also, yay, you finally published a preset you made! I'm going to start doing this myself soon, I think, and start putting out some videos on the modification topic. One thing you might try is using a reference piano - if I put out a video, I think this would be one of my first order recommendations, which is to utilize pianos in recordings that you like as a reference, especially if it's a piece you can play so that you can tweak it until you find some of the characteristics that you like in a piano.
Worth noting on your second piano is that the curve forces more of the velocity into the mezzoforte range.
Interesting stuff I've discovered:
-Steinway Model D is overly sensitive to impedance.
-Bluthner, so far, seems to respond the most effectively to tweaking parameters. So, if I hear a concert recording and I'm trying to capture some elements of that recording and I adjust parameters, the Bluthner seems to be able to replicate these sounds more closely.
-Historical pianos that have their parameters adjusted to sound more modern are a GREAT way to get a new sound that sounds like a unique, beautiful piano. The 1899 Bechstein is great for this, as well as the Erard pianos.
I got standard, but I might upgrade to pro, because I'm finding that some of the adjustments adding higher overtones make the lower notes crisp and strong, but can make the upper register buzz just a little too much. That per-note edit is actually necessary. Sympathetic resonance REALLY makes a lot of the notes sound a lot more real-to-life.
You're so right, the scope and potential for exploration and discovery is huge. I think I'm just waking up to it now. The possibilities are a little daunting! I agree that wide ranging response is the best. Thanks for the very interesting comment!
When comparing you could also click the [A B] icon you have to the left of the Steinberg Solid text above, that way we can see more clearly what's changed as you show us the screen. Just saying. As usual great playing.
Thanks! I considered going even further than that and show the changes as I made them in real time but I couldn't see a way to automate velocity changes. I found a plugin that did it in principle but trying it crashed my computer! :-(
I find the both the velocity curve and the hamer hardness difficult to understand on Pianoteq. The hammer hardness is the most difficult to understand particularly has it relates to a genuine felt hammer. Listening to your demonstration, it appears to me your second performance is bring out the upper partials. I'm not sure. I wish Piano would make a video on how to adjust each setting and how it affects the tone. I love Pianoteq more than than the two Chickering grands I have, but I honestly don't know exactly what all the adjustments do. I only recommend the "Pro" version as that is the only version that allows for every parameter adjustment on every note, which I have found to be extremely valuable.
The possibilities and variables are indeed daunting. But I'm starting to think it's fun to experiment. When piano technicians voice the hammers, the changes to the way the instrument plays can be so startling. It's this kind of change that I'm beginning to see is possible. The truth is, piano tuning and regulation is a very sophisticated art and some of the people who do it have real genius! I am a mere dilettante. It's nice to dabble inside the safety of Pianoteq though!
Hello, I watched some of your Videos about Pianotech 8. And in the background I saw a Roland V Piano. This is the one, that I wanted to get for several years. What do you think about this Roland Piano ? And in relation to pianotech?
Thank you for an answere.
M. Blank
Hamburg
The V-Piano was the first digital piano that I enjoyed playing. The combination of its action and the physically modelled sound was wonderful (still is!). In my Fantom 8, which has a better action, the V-Piano sounds have evolved and they are better than in my old V-Piano but I do slightly prefer Pianoteq's sounds. I still like the V-Piano though!
Thank you Phil for these very informative videos! Do you make these presets available on the Pianoteq forum as FXP files? That would be great - and save me squinting at my screen trying to line everything up . haha :)
My pleasure. The player version in this demo is the NY Steinway D Classical Recording preset but with the mics moved to the player position (that's the position of the Prelude preset - you can save the mics position as a preset too), the reverb reduced to zero, and the stereo width reduced to zero and that's it. The final recording is the Classical Recording preset unchanged.
@@PhilBestMusic Wow.. that is a very big leap from P6 t P7!
How do you mean?
@@PhilBestMusic I meant that the improvement in sound between Pianoteq 6 and Pianoteq 7 is very noticeable. I actually went from Pianoteq 5 which required a lot of tweaking.. But this version seems to be fantastic straight out of the box!
Ah I see! Yes I think there's a real presence to the sounds in v7 that's wonderful.
What would be Handy (meaning Not W.C. Handy but useful) would be to add a downloads area to your web site and drop you custom presets there.
It's easier than guessing your tweaks.
:-)
Maybe ;-) But thta's kind of missing the point of this vid. I'm not saying that my presets are good but that I enjoy using fluent musicianship skills that enable me to relate to different, even problematic things, in different pianos. Many people often ask me about how to create the ideal velocity curve: I say the best velocity curve is the one you're playing with right now. Every piano is different and that's the fun of it! My advice is to relax, play from the body and find the flexibility to respond to any curve, within reason.
@@PhilBestMusic I didn't mean the velocity as that depends on the keyboard. I meant the other tweaks because after it's been mangled by MP4 and again by YT storage we don't hear what you hear. It would be nice to hear it directly from Pianoteq - if you see what I mean.
I'll try to get round to sharing my tweaks.
What is that piano that you're playing ? A controller ?
It's a Roland HP605 digital piano which I'm using just as a controller.