However, if, in the context of the recording, a real-sounding piano isn't required then, yes, authenticity is negotiable, in which case there's a slew of applicable piano samples/models available.

With some of those high notes my brain easily and immediately calls foul and once that's been established the game is over. There's little else to consider in this context. To fool our brains into believing that we're hearing an acoustic piano. What we and our audience are listening for is authenticity. I don't think the equation is nearly that complicated. Then I heard that they were coming out with a new version. I was mad at myself for purchasing it, and I kept on playing Ivory II. With 4.5 I was hearing some wooshing overtones that sounded more like a synthesizer. The D4 sounds great, however, especially when I brighten up the EQ a little for pop music.

It's probably better for classical music which is not my forte. The Bluethner sounds a bit muddy in comparison. I don't know if it's natural, but it is beautiful. I'm not at all familiar with Kawai pianos, but the K2 has some overtones that are just angelic. When I play Pianoteq, I sometimes hear a little too much metallic sound and sometimes a little bit of a phase shift when playing chords with pedal. To my ears, the midrange of a piano is the hardest to imitate. I detect a natural clunky type of feeling when I play those low notes that I don't get with Ivory II. The lower notes on Pianoteq 5 vibrate straight through my body. I don't have the best audio interface, a Xenyx Q502USB mixer with a built in sound card, but I'm playing through Sennheiser HD650 headphones, and I hear pure unadulterated piano in the upper registers. I find the upper register quite convincing. I had been playing Ivory II for 5 months, and I just wasn't feeling it. I mostly play the K2 Player Clean setting.

I've been playing Pianoteq 5 for a few weeks, and I think it is an amazing instrument. Thank goodness others are or we wouldn't have the wurli, rhodes, clavs, CP80, synths. So I'm very open to models, or things that are just based on existing Instruments. Personally, I'm only interested in machines that can present a performance in a great/interesting/inspiring way. So the onus here is on an expressive quality. The level of tonal options will be down to some sort of post processing as for samples - but also synthesis/modelling parameters may allow changing for huge variation and the additional ability to emulate other instruments. It will probably never sound the same twice and will be gradated up to the 128 velocity level limit. Oktava sdcs sounds more expressive.Surely the thing is, it's a plugin and should first be compared to other plugins.Д¬urrent Velocity-layer Sample-sets are huge, require streaming/ memory and each Velocity sounds different (Un-gradated) - each sample is a static snapshot of a string recorded in an isolated 'test' state - by someone who may or may not share your idea of a good mic'ing strategy.ДЄ model can react to each incoming note-on taking into account the state it was in before the key was hit. Its ridiculous how far this still sounds from the real thing.Д®ven a cheap yamaha upright piano through a stereo pair of Im watching the evolution of sampled and modelled pianos But I also believe that as the work continues and gets more refined, and we get more powerful compute, we'll look back on these with even more refined ears. I believe Modartt has achieved a unprecedented level of modelling with this new version. Does the current tech really accurately model the complexities of these interactions and allow their accurate capture by virtual microphones? Assuming the sound generating model is accurate, sound emanates from a different acoustic space for each string, and different places on each string, and is reflected and re-reflected over an infinite number of paths to reach the listener's ear. However, I don't really do solo piano pieces, and I'm going to reserve judgement on that.ДЄ piano is a big instrument that acoustically interacts with itself, the player and the environment it's in. But I went through various projects simply replacing my sampled libs with P5, loosely matching piano models, and it sounded great. In reference to the nay-sayers, I had tried version 3 a few years ago, and at that time I was of that opinion too. You can also get creative and create wild variations, but when you do that you start realizing how much work must of gone into tweaking these models into sounding as good as they do. Version 5 is my first version, so I haven't spent a lot of time tweaking, but I can see it used either in small doses to optimize a piano to a track or a playing style.

Modartt pianoteq 5