#MODARTT PIANOTEQ 5 KEY SOFTWARE#
#MODARTT PIANOTEQ 5 KEY PROFESSIONAL#

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#MODARTT PIANOTEQ 5 KEY PROFESSIONAL#

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#MODARTT PIANOTEQ 5 KEY SOFTWARE#

Somehow it is more blame the software not ourselves. May be that is why some piano players don´t like it, because Pianoteq somehow is able to send us back our own limitations. That is plug and play but not that much in order to get great results. I have come to the conclusion that pianoteq is really a demanding software that needs skills in both Piano playing and tweaking in order to get great results. But it is also true that it is really time consuming, and there are a lot to investigate and to tweak in order to get great results. I'm able to adjust the tuning to sound more like my acoustic grand. It has way more adjustability than anything else I have, and the dynamic range in timbre and tweaking the harmonic interaction between notes, gives me an organic sound that leaves my sampled vst's very thin, 2 dimensional and weak. It wasn't until I really started to tweak the settings, (previously too lazy I guess), that I was blown away by what was achievable. They all sounded too sterile, particularly the treble bell like notes. I've had Pianoteq for a couple of years now, and up until recently, I wasn't a fan of it compared to my sampled vst's, however.apart from recent updates, the thing that has converted me for it to be my go to pianos is that I was never impressed by the default presets of any of the pianos I bought. I tried it, and the sound quality gap between 7.4.2 and 7.5.1, is incredible. modification of the presets orders, also an aesthetic choice.' various small modifications in the presets such as voicing, hammer hardness, hammer noise, volume (normalization), etc., modification of the micing in some presets (only a few ones), as for example on the 'NY Steinway D Classical'. general revoicing, both at the 'factory' level (not visible in the UI) and at the preset level (visible in the Spectrum profile NE of some presets in Pianoteq PRO), making the sound of individual notes nicer and fuller from ppp to fff, adjustment of the hammer hardness, to have a better progression and timbre dynamics from ppp to fff, adjustment of the quadratic modes, some were a bit too hot at fff,

adjustment of the longitudinal modes (responsible for the 'buzzing' sound): in the bass and medium range, some were a little bit too pronounced, Here are some details on the work done on the NY Steinway D (quite a similar work was done on all revised pianos):

Modartt pianoteq 5 key