The Pianoteq virtual instrument is now in its sixth version, available in VST, AAX and Audio unit and stand alone versions (PC, Mac and Linux) with a vast library of keyboard instruments for every audio production need.
Talking about virtual instruments there are basically two schools of thought on the piano. On the one hand there are supporters of sampled libraries with multiple points of dynamics, on the other hand those who use physical model software. Personally I do not enter the debate with a straight leg as there are now many valid products on the market and personal aspects in the use of one or another software also weigh. What matters is obviously the tonal quality and therefore I attach some audio examples at the bottom of the article so that the reader can get an idea.
What makes it interesting Pianoteq 6 compared to other virtual instruments is that the instruments have been physically modeled thus allowing a better simulation of the playability and real behavior of the acoustic instruments. The physical model behind the audio engine is the result of research by a team of academics from the Institute of Toulose mathematics (Modartt). The fundamental advantage of this technology is that Pianoteq, compared to sampling-based virtual instruments, uses less disk space and is therefore perfect even for computers with average performance. On “Age of Audio” we had already enthusiastically reviewed Pianoteq in 2010, but several improvements and updates have been made in the audio engine since then.
Briefly, they can be summarized in the following points:
- The physical model of Pianoteq 6 has been significantly improved and the library of modeled instruments has been expanded. We find a wide selection of pianos, electric pianos, historical instruments and chromatic percussion.
- Thanks to a partnership with Steinway & Sons the timbres of the Steinway Model D e Steinway Model B.
- Better compatibility with standards VST 3, ARM (Linux) and NKS (Native Kontrol Standard) of Native instruments.
- In the Pianoteq Standard and Pro versions, the tuning section has been enriched with new instruments for special tuning or "microtuning" needs
- Improvement of the MIDI section in its mapping
- Ability to export audio in FLAC e MP3
- In the standalone version, the virtual keyboard displays the color keys when pressed on the keyboard, same thing for the chords that are detected and displayed.
The interface
The interface it has remained basically the same with six sections, although they have been rearranged for better usability. In particular, the three lower sections grouped under the heading "Output" have been optimized.
The first window concerns the production of sound and allows the manipulation of the dynamics in the parameters of Velocity, Note - off, Pedal and Aftertouch.
In the central window it is possible to select the type of audio output: sound recording, monaural, stereo and binaural as well as being able to control the level of dynamics and general volume. By clicking on the microphone icon it is possible to simulate the microphone recording by placing virtual microphones around the piano. The level of meticulousness of the developers is really high if we consider that there is even the possibility of choosing type, number e brand of microphones as well as the recovery dosage of each of them. This vast choice is very accurate in order to obtain the preferred shot and the optimal environment for one's productions (Fig. 3):
In the sixth lower section of the interface, the action parameters, hammer action on the strings, equalization and a set of effects rich in modifiable presets (reverb, delay, chorus, etc.) have been grouped. This reorganization is much more intuitive and quick because all parameters are easily modifiable with a few clicks and without having to constantly switch between one window and another, as often happens in other virtual instruments.
Returning instead to the upper section we find the three panels Tuning, Voicing e Design. In the section dedicated to Tuning you can change the standard tuning of the piano according to your needs. You can also change the temperament by selecting the different systems like that Pythagorean, Zarlin, Werckmeister, etc. Through the "Unison width" command you can set the detuning by adjusting the slight out of tune between one string and the others, while the "Octave Stretching" command allows you to unfold the intonation towards the high registers.
In the panel "Voicing”It is possible to modify the timbre aspects through the three controls“ Piano, Mezzo and Forte ”which regulate the hardness of the hammers. A further tonal customization is possible by modifying the parameters concerning the hammers through the “Hammer noise, Strike point and Soft pedal” commands.
The third upper panel called "Design”Is dedicated to the mechanics and geometry of the piano. The “Soundboard” subsection contains three commands that affect the properties of the metal structure on which the tailpiece is mounted. Changing one of these commands affects the decay of notes and the nature of the harmonics. The other two commands act on the sympathetic resonance parameters.
The sound library and the "road test"
Compared to previous versions, Pianoteq 6 now offers a remarkable library of acoustic and electro-acoustic pianos, modeled on the famous pianos. However, there is also a large collection of chromatic percussions, steelpans, harpsichords and historic pianos as can be seen from the figure:
For each type of instrument it is possible to choose presets according to the genre or type of recording: jazz, classic, pop, etc. The choice is really wide and during the test I was able to try the different presets. I must say that the sounds are already usable and you don't have to manipulate the desired timbre with timbres that fit well into the mix.
Among these dominates the legendary Steinway series D and B which, as has already been said, has undergone a marked improvement thanks also to a partnership with the company.
The function of calibrating your keyboard with the chosen piano is also very useful, since each controller has a different response in the key which affects the velocity and dynamics parameters. Through an assistant you can quickly calibrate your keyboard. During my test I was able to try all the available pianos with different musical genres.
The first aspect is the quality of the sound which is truly customizable in many aspects, whether you play a piece of classical music or something else. I also had the opportunity to try electric pianos including the legendary ones Rhodes MK I e II found in many famous records. You can hear the density of the sound, the paste and the warmth and the simulation of the analog tone is convincing.
Another notable aspect is the immediate passage from one stamp to another without any data loading. This is an aspect that should not be underestimated especially when working in the studio there is a need for an agile tool that does not generate "frustration from waiting for loading" as often happens for other virtual instruments. Furthermore Pianoteq is really “light” and weighs very little on the CPU, I personally tested it with Cubase and I must say that the average audio processing load has always been really low even when loading it in multiple slots and on multiple tracks. One thing I would have added is the Pan control on the interface. It is true that the possibilities of spatialization are many, but the direct pan control would have been more convenient especially in the mixing phase.
Conclusions
Pianoteq is a versatile and useful tool for different types of musicians. Whether you are a classical or pop pianist, you will surely find the right instrument for you in the rich database. This allows for creative expansion and a wide range of choice for the sound of your productions. However, I would like to say that the choice of pianos satisfies the classical musician more because the library favors classical concert hall instruments.
At first it may seem complicated to disentangle the different parameters, but after a while you understand that you are dealing with absolutely customizable timbres. Although I must confess that sometimes, as a musician, it can get quite frustrating to be tweaking so many parameters in search of the right sound and maybe you want a tone that's already well defined and ready to use.
I had the opportunity to try out different real instruments and using Pianoteq the tones of the pianos are all very valid, perhaps some doubts arise about the “historical” ones and the harpsichords. However, it must be said that for these instruments it is difficult to recreate the dynamic range and the particular quality of the sound due to the different pizzicato production of the sound compared to the percussion of the piano.
I really appreciated the stamp of the Clavinet which is very dynamic and with a vintage feel just enough. Pianoteq comes, like many other software, in four versions: stage (basic version), standard, pro and "studio bundle." This latest version is the most complete and includes all the tools I mentioned above as well as the one I tried for this review. The price is not really within everyone's reach as currently it is around (discounted) around € 600. However, the other versions cost less, but do not offer all the tools I have described, which is useful when working on different types of productions. audio.
Pro
- Tonal quality
- Minimum CPU load
- Wide choice of tools
Cons
- Lack of direct PAN control
- Price a little high
Audio examples
Useful Information
Sito: Modartt
Italian distributor: Midiware
