In other words, taking just the soundboard as a resonator (forgetting the filtering and reflective properties): the vibrations from the string first vibrate the nearest area of the soundboard, but the vibrations are quickly transferred throughout all of the cells of wood until they reach the surrounding bracing, and then the standing waves are established. In any case, my impression-what I seem to hear and what I assume from common sense-is that although the entire soundboard and cabinet shake, rattle, and roll, the evolving sound of the rumble is at first localized near the string and then spreads out. The same is true of the cabinet vibrations.
About the soundboard and cabinet response: Part of the difficulty is of course that the original model was for a classical, distant perspective, from which the vibrations from the soundboard would seem more grouped together and coming from a single location. I've come up with more questions than answers, and a longish post:ġ. I'm wondering if the location of the sound and the way it spreads might be further explored. Surprising to read this return to this subject-I've been thinking about it too, and thinking about sympathetic resonance, and listening to real and sampled pianos and PianoTeq with a focus on the cabinet and soundboard response\rumble and the sound of sympathetically vibrating strings.
Oh darn, they've already got one arm in the white jacket, so I can't type anymor. I know, purists may say this defeats the whole idea of modeling, but really we all just want "that sound" and I'm sure the Pianoteqnicians will continue the search for the grail. It would be great if Pianoteq could host a VST (or equiv) of its own to enable adding the mini-sampler or effects within the standalone version. Or rattles and spastic key noise could be added for an aging pianobeast. For instance, a sample set could be used to only enhance the bass but could fade out an octave before middle C. I'd want the sample sets to be small and, for the most part, subtle -but it would all be subjective and fun.
#PIANOTEQ 5 BASS FREE#
Those enterested (in their massive free time) could work on sample sets that enhance Pianoteq in various ways that may suit some projects and ears -and raise a few nostrils to boot (all good). I actually spent some time searching the webniverse for a free, cross-platform, lightweight little vst (or equiv) sampler. Is there anyone out there that can do this?Īlong those lines, I had already been looking into the following idea. encourage other forum members to design a piano with a better bottom end, and still retain the wonderful overall sound of this thing.
#PIANOTEQ 5 BASS SOFTWARE#
Other than that, there's nothing sacriligious about using other instruments with Pianoteq - I don't think we are insulting its software mother's by such experimentation.:) But I do think that this (besides the built in reverb) is a case for a post process within Pianoteq to apply mostly to the lower keys -some type of additional resonance, quick multi-tap delay, or other possibly random effect.
I've heard mention about these plugins like Pianoverb and Sympathizer and I haven't tried them yet. It's not a chorusing effect, though that may be in there. I find that doubling Pianoteq with my Kurzweil piano module is actually a bit more inspiring to play -and way more than the Kurz alone ! I think it's because of the "thickness". But to model the complex resonance of the piano structure and it's surrounds is really impossible (unless we get a SETI thing happening !). I believe some of this comes back at you as unison with a tad of delay as the sound is banged off the soundboard and structures. The lowest notes create the most resonance, producing a lot of overtones, not just in the other strings but also in the piano structure. A real acoustic piano is a very complex wood and metal structure that interacts with the floor, nearby walls, acoustics, the antique clock and giant coffee mug on the lid, etc. Don't I have something better to do.? Of course, but.sometimes I like to hear myself type.