MODARTT

presents
PIANOTEQ 6

1
 Welcome

Congratulations on your purchase of Pianoteq – the starting point of a

Congratulations
new generation of pianos, developed from mathematical research
made at the Institute of Mathematics of Toulouse at INSA Toulouse,
rance, and offering uni!ue possi"ilities to ma#e the piano "ehave
and sound $ust the way you li#e%

or support issues and latest news a"out our products, please visit
ourr we"
ou e"si
site
te at www%pianote!%com
www%pianote!%com%% If you have any !uestions or
comment, let us #now% &e always listen to our customers%

'
 Contents
1 Introduction.................................................................................................................7 

1.1 The fourth generation of pianos..........................................................................................7

1.2 What makes Pianoteq outstanding......................................................................................8

1.3 Pianoteq versions................................................................................................................9

1.4 Features in short................................................................................................................1

2 Installing and starting Pianoteq.................................................................................11

2.1 !nsta""ation for Windo#s...................................................................................................11

2.2 !nsta""ation for $a% &' (...................................................................................................12

2.3 )sing Pianoteq standa"one................................................................................................12

2.4 )sing the *'T+*'T3

*'T+*'T3+,)+,,(
+,)+,,( p"ug-in.................................................................................12

2. /ard#are requirements....................................................................................................12

2.0 ,dapt Pianoteq to our hard#are.....................................................................................12

2.7 ui%k" "oading fp ptq and $!5! fi"es..............................................................................13

2.8 $!5! fi"e p"aer 6standa"one version.................................................................................13

2.8.1 Playback speed.................................................................................................................................14
2.8.2 Record and Save your performance.................................................................................................14
2.8.3 Brilliant performance lost?...............................................................................................................14
2.8.4 Step by step in your !"! file...........................................................................................................1#

2.9 !nterfa%e magnifi%ation......................................................................................................1

3 Overview, instruments...............................................................................................16

3.1 !nstruments.......................................................................................................................17
3.1.1 $coustic pianos
pianos and predecessors......................................................................................
predecessors...............................................................................................
.............1%
....1%
3.1.2 &!'iR collection.................................................................................................................................
collection................................................................................................................................. 1(
3.1.3 &eyboard ran)e................................................................................................................................1(
3.1.4 *arp..................................................................................................................................................2+
3.1.# ,lectric pianos...................................................................................................................................21
pianos...................................................................................................................................21
3.1.- *oner /ollecti
/ollection.............................................................................................
on.............................................................................................................................22
................................22
3.1.% 'ibrapones
'ibrapones.................................................................................................................
......................................................................................................................................22
.....................22
3.1.8 0ylopone and arimba..................................................................................................................
arimba.................................................................................................................. 22
3.1.( oy piano /elesta and lockenspiel..............................................................................................
lockenspiel...............................................................................................22
.22
3.1.1+ Steelpans........................................................................................................................................22
3.1.11 ter instruments........................................................................................................................
instruments..........................................................................................................................23
..23

(
 3.2 $anaging instruments and presets...................................................................................23
3.2.1 "ifference bet5een 6instrument7 and 6preset7..............................................................................24
3.2.2 !nstrument modifications................................................................................................................. 24

3.3 /ints..................................................................................................................................24
3.3.1 /reatin) your o5n instrument.........................................................................................................24
3.3.2 Brilliance........................................................................................................................................... 2#
3.3.3 sin) reverberation..........................................................................................................................2#

3.4 enera" %ommands............................................................................................................2

3.4.1 Playin) 5it te parameters............................................................................................................2#
3.4.2 ana)in) and sortin) presets..........................................................................................................2-
3.4.3 $ssi)nin) a parameter to a !"! controller..................................................................................... 28
3.4.4 !nstrument controls..........................................................................................................................2(

4 Tuning panel..............................................................................................................31

4.1 5iapason............................................................................................................................31

4.2 Temperament....................................................................................................................31

4.3 )nison tuning....................................................................................................................32

4.4 &%tave stret%hing...............................................................................................................33

4. 5ire%t sound duration........................................................................................................34

 !oicing panel "acoustic#.............................................................................................3

.1 /ammer hardness.............................................................................................................3

.2 'pe%trum profi"e................................................................................................................3

.3 /ammer noise...................................................................................................................30

.4 'trike point........................................................................................................................30

. 'oft peda"..........................................................................................................................30

6 !oicing panel "electro$acoustic#..................................................................................37 

0.1 Pi%kup smmetr...............................................................................................................37

0.2 Pi%kup distan%e..................................................................................................................37

7 !oicing panel "clavinet#..............................................................................................3% 

% &esign panel "acoustic#..............................................................................................3'

8.1 'oundoard.......................................................................................................................39

8.2 'tring "ength......................................................................................................................39

8.3 'mpatheti% resonan%e.....................................................................................................4

8.4 5up"e s%a"e.......................................................................................................................4

)
 8. :"ooming...........................................................................................................................4

' &esign panel "electro$acoustic#...................................................................................41

1( !elocit) panel..........................................................................................................42

11 Output panel............................................................................................................43

11.1 Peda"s..............................................................................................................................44

11.2 , sound radiation phsi%a" mode"....................................................................................40

11.3 'ound re%ording mode.....................................................................................................40

11.3.1 icropones and micropones tecni9ues...................................................................................4%
11.3.2 i: table.........................................................................................................................................4(
11.3.3 /ompensation................................................................................................................................#+
11.3.4 Stereo 5idt and sound speed.......................................................................................................#+
11.3.# ;id position.....................................................................................................................................#+
11.3.- Binaural mode................................................................................................................................#1
11.3.% $bout te micropones position....................................................................................................#1

12 *rom action to e++ects...............................................................................................2

12.1 ,%tion..............................................................................................................................2

12.2 $a""et oun%e..................................................................................................................2

12.3 ;qua"i<er..........................................................................................................................3

12.4 ;ffe%ts..............................................................................................................................3

12. =evereration..................................................................................................................0

13 Practice....................................................................................................................7 

13.1 Tutoria" 1> tuning.............................................................................................................7

13.2 Tutoria" 2> voi%ing............................................................................................................8

13.3 Tutoria" 3> soundoard design.........................................................................................9

13.4 Tutoria" 4> adapting Pianoteq to our keoard..............................................................0

13. Tutoria" > differen%e et#een spe%trum profi"e and equa"i<er.......................................01

14 Pianoteq Pro............................................................................................................62

14.1 ?ote ;dit..........................................................................................................................02

14.2 'pe%trum profi"e..............................................................................................................03

14.2.1 ,:ample 1.......................................................................................................................................-4
14.2.2 ,:ample 2.......................................................................................................................................-#
14.2.3 ,:ample 3.......................................................................................................................................--

1 ppendi- temperaments construction.....................................................................67 

*
16 /pecial ac0nowledgements.......................................................................................6% 

10.1 !nstrument providers.......................................................................................................08

10.2 =e%ording engineers........................................................................................................08

+
1 Introduction
1%1 The fourth generation of pianos

The first generation of pianos, starting in 1+- with Cristofori.s  pianoforte, came to
maturity at the end of the /I/ century with the acoustic grand concert piano% It was
followed in the // century "y electro0acoustic pianos, and then "y digital sampled
pianos% Now, at the "eginning of the //I century, Pianoteq is the first instrument of the
fourth generation of pianos, "ased on physical modelling and offering etraordinary
playa"ility and epressiveness%

&ith Pianoteq, you can adapt the piano sound to your own taste% 2ni!ue parameters
that model the "ehaviour of real pianos result in great realism, until now only to "e
eperienced on real acoustic pianos%

2sing ('0"it internal computation, the calculated piano sound is free from !uanti3ation
noise% True dynamic tim"re results, from the faintest  pianissimo to the strongest
 fortissimo, for all 1'4 standard MI5I velocities 6and even more with high resolution
MI5I7%

8verything that characteri3es a real piano is there9 the mechanical noises, the comple
sound of pedals and strings in interaction, the percussive impact on staccato play 6short
notes7, and of course, most importantly, the beauty of the piano sound %

The second generation "rought innovative sounds 6such as the ender :hodes, &urlit3er,
;amaha C<, and others7, whereas the third generation only reproduced recorded
samples% =ased on an effective physical model, Pianoteq  allows you to ad$ust and
stretch parameters, resulting in new sounds and performance styles% Pianoteq is "oth a
way to emulate eisting pianos and an innovative tool for music creation%

Pianoteq is in fact the first virtual piano fatory 9 it can produce new "rands as well as
copies of eisting instruments, from historical instruments such as harpsichords and
pianofortes to contemporary grand pianos or the more recent electro0acoustic pianos%

Other instru!ents of the idiophones fa!ily are regularly added to the Pianoteq
collection% >isit our we"site www%pianote!%com  and discover our latest creations%

4
1%' &hat ma#es <ianote! outstanding

 It is the first of a new generation of pianos, issued from an outstanding

"rea#through technology "ased on physical modelling, which is foreseen as the
technology of the future% Notes are really played 6?constructed@ in real0time, as
on a real piano7, not $ust read from the dis# or the memory% This eplains why
the sound is alive" not stati# it is not a si!ple reordin$" it is a $enuine
instru!ent that responds to the pianist%s finest interpretation%

 It has "een developed in the prestigious Institute of Mathematics of Toulouse , at

the Institut National des Sciences Appliquées  in Toulouse, rance% Two specialists
from this la"oratory have "een wor#ing hard to create this "eautiful instrument%
Conception of the physical model is from <hilippe 2IBBA2M8, piano tuner,
musician, and mathematician whose ?rail@ is finding the e!uations for the
?piano soul%@ Implementation is from ulien <DMMI8:, engineer and
mathematician, who implemented the physical model to wor# in real time%

 It is light9 it does not re!uire storing huge data involving a whole collection of 
5>5.s, since it only needs an up0to0date C<2 for computing all sounds in real
time% It loads easily into :AM, and installation is instantaneous% No pro"lem using
it on a modern laptop%

 It can handle ultra low latencies with good audio drivers on a recent C<2%

 It offers a "eautiful collection of stunningly alive instruments9 pianos, pianoforte,

piano precursors such as cim"alom, clavichord and harpsichord, electro0acoustic
and electric pianos, chromatic percussions and other instruments from the
idiophones family%

-
1%( <ianote! versions

Pianoteq is availa"le in three versions9

 PIANOTEQ &TA'E is for musicians who want to plug it in and play without
twea#ing the physical model% It includes standard features such as velocity curve,
dynamics, action settings, 8E, tremolo, wah0wah, chorus, flanger, phaser,
compressor and other effects%
 PIANOTEQ &TANDARD offers in addition powerful tools to twea# and adapt the
physical model, as well as the positions of the microphones%
 PIANOTEQ PRO goes even further% Its Note 8dit feature allows those who re!uire
complete freedom in note shaping to edit the parameters note0"y0note%

All versions offer the same sound, instruments and playa"ility "ut differ in the range of 
features and settings% The ta"le "elow summari3es the main differences "etween the
three versions%

PIANOTEQ  PIANOTEQ  PIANOTEQ 

&TA'E &TANDARD PRO
Includes two instrument pac#s F1G   
HI>i: instruments 6free7   
<reset 6fp7 loading F'G   
Audio effects   
<iano model twea#ing  
Microphones setting  
Boads eternal rever" impulses  
Note 8dit 6note0"y0note editing7 F(G 
Internal computation up to 1' #3 

F1G Dptional instruments are sold separately and can "e loaded in any Pianoteq version%
F'G In PIANOTEQ &TA'E, preset loading is limited to parameters that are present in the
interface% <resets "uilt with PIANOTEQ PRO can "e loaded in PIANOTEQ &TANDARD
without any limitations%
F(G In PIANOTEQ &TANDARD, Note0per0note edit is availa"le for tune and volume%

This manual descri"es the general features that can "e found in Pianoteq% 5epending on
your version, some of them may or may not "e present%


1%) eatures in short
Pianoteq is e!uipped with all of the features you could dream of9
Continuous velocity from  pianissimo to  fortissimo, with progressive variation of 


the tim"re9 that ma#es at least 1'4 velocitiesJ A sample0"ased software program
would re!uire hundreds of giga"ytes for all these velocities
 Comple resonances that only a model can reproduce in all its richness9
o Sympathetic resonances of all strings, "oth without and with sustain pedal
o 5uple scale 6the undamped string parts which come into resonance7
o 5amper position effect when #ey is released 6varia"le overtones damping7
o Dther specific effects li#e staccato and sound continuation when pressing
down the sustain pedal a short time after #ey release 6re0pedalling7
 8tended #ey range to 1K* #eys for some grand pianos 6Steinway Model 5, H'7
 Tim"re modification of repeated notes, due to the hammer stri#ing strings which
are already in motion instead of "eing still
 <olyphonic Aftertouch 6particularly interesting for the clavichord7
 our pedals 6other assignements are possi"le, see chapter 1179
o <rogressive sustain pedal allowing the so0called ?partial pedals@ 1
o Sostenuto pedal, allowing you to hold some notes after release without
pressing down the sustain pedal
o armonic pedal, allowing you to play staccato while maintaining the
sustain pedal resonance 6not availa"le on acoustic pianos7
o Una corda pedal, also called the soft pedal, modifying the sound !uality
or timbre "y shifting the piano action to the right 6on grand pianos7
 >aria"le lid position
 Natural instrument noises 6sampled or modelled7 including action #ey release
noise, damper noise at #ey release 6"ass notes7 and sustain pedal noise9 pedal
velocity dependent ?whoosh@ produced "y the dampers rising together from the
strings or falling down
 Microphone positioning and multichannel miing 6up to * mics, * channels7
 Microtuning and scala format files import
 Hey"oard, pedal and note0off velocity settings
 Sound control via e!uali3er and 6volume7 dynamics
 =uilt0in convolution rever"eration, allowing you to import &A> impulses
 Standard effects including delay, chorus, flanger, phaser, tremolo, wah0wah,
amplifier and a compressor
 Driginal hammer "ouncing feature, interesting for chromatic percussions
6marim"a, ylophone, cim"alomL7
 Instrument condition control, from freshly0tuned to completely worn0out%

1
 If your piano supports a fine enough MI5I progression 6up to 1'4 values7 for the sustain pedal%

1K
' Installing and starting <ianote!
Pianoteq wor#s on computers e!uipped with &indows, Mac DS / or Binu% ;ou can use
Pianoteq in standalone mode or as a plug0in instrument in a >ST, >ST(, Audio 2nits or
AA/ host% Pianoteq runs in "oth ('0"it and +)0"it mode% &e recommend visiting
www%pianote!%com where you will find the latest information, a detailed AE page and
a tutorial on how to connect your hardware%

'%1 Installation for &indows

8ecute the installation program file pianote!setup%ee% Activation is re!uired when
launching Pianoteq for the first time% ust follow the on0screen instructions% ASID
drivers are necessary for o"taining a low latency% If using a soundcard that is not
distri"uted with its own ASID drivers, you can download ASID drivers at
www%asio)all%com %

Opti!i(ation
If you eperience pops and crac#s when playing, watch the audio load and C<2
fre!uency in Options ► erf 9

:ed "ars in the graphic indicate an overload% In that case, loo# at the displayed C<2
fre!uency% If this fre!uency varies or stays "elow the normal fre!uency of your C<2, it
comes from the <ower Management setting of your computer which should "e set to
?igh <erformance@%

11
'%' Installation for Mac DS /
Clic# on the Pianoteq pac#age and follow the instructions% Activation is re!uired when
launching Pianoteq for the first time% ust follow the on0screen instructions%

'%( 2sing <ianote! standalone

2sing Pianoteq standalone is very simple% Baunch Pianoteq and specify your audio and
MI5I !evices settings in the dialogue "o9 you are ready to play%

'%) 2sing the >ST>ST(A2AA/ plug0in

Pianoteq can "e loaded "y any >ST, >ST(, Audio 2nits or AA/ host% ;ou will need to
specify, inside the host, your MI5I device and the driver you are using%

)arnin$
Most hosts save your modifications and reload them when you restart% If you hear some
strange sounds, ma#e sure that all parameters are at their default values% Chec#, for
eample, whether the velocity and e!uali3er curves are correctly defined%

'%* ardware re!uirements

Pianoteq  can "e used with any MI5I compati"le #ey"oard% &e recommend a touch
sensitive #ey"oard, such as one with full weighted #eys simulating the hammer response
of a real piano% See tutorial section 1(%) for adapting Pianoteq to your #ey"oard in the
"est way% or partial pedalling, a progressive sustain pedal is re!uired%

The re!uirements for using Pianoteq successfully are9

 :ecent C<2 6dual!uad core recommended7
 *1' M= :AM
 ASID compati"le sound card and drivers 6concerns &indows users only7
 Internet connection 6however installation on a computer that is not connected to
the internet is possi"le% See our AE at http9www%pianote!%comfa!7
 &indows 4 or later, Mac DS / 1K%4 or later, Binu 6-+ and A:M7%

'%+ Adapt <ianote! to your hardware

&hen you clic# on the Options "utton, a window containing the following sections
appears9

1'
The !evices  section 6in standalone mode only7 lets you select your #ey"oard, audio
device and related driver 6Audio device type7, output channels, sample rate and audio
"uffer si3e%

In the MI!I section you can9

 Assign MI5I controllers to Pianoteq parameters 6eperienced users only O may
produce unepected sounds with MI5I files containing special instructions7
 2nassign all controllers ecept pedals and <itch =end "y choosing Current MI!I
Mappin"# Minimalistic  6recommended for starting7
 Transpose notes "y up to ( octaves%

Pianoteq computes all notes dynamically 6that is, in real time7% Thus a modern C<2 is
re!uired% =ass notes contain more overtones and thus re!uire more computations% The
erf  section allows you to select from among the following features9
 Multicore renderin" % ;ou should usually ena"le this feature%
 CU overload detection % 2nder certain circumstances 6a slow C<2, very fast
music7, the C<2 may "e overloaded "y the num"er of re!uired computations%
CU overload detection  might "e useful for real time processing, for eample
when 1K seconds of sound re!uire 1' seconds of C<2 computations% Some
computations are then "ypassed%
 Internal Sample $ate affects the internal sampling rate of Pianoteq%  A lower
fre!uency re!uires less computation% Thus the lower the capacity of your C<2,
the lower you should set this sample rate%
 The ol&phon&  is the num"er of individual sounds 6notes, sympathetic
resonancesL7 that are played simultaneously% The lower the capacity of your
C<2, the lower you should set the polyphony% Alternatively, you can choose  Auto
'essimistic or Optimistic(  for an automatic polyphony setup%

'%4 Euic#ly loading fp, pt! and MI5I files

;ou can load  f)p  and  ptq   files 6and MI5I files with the standalone version7 !uic#ly "y
dragging each file at a time, from the file manager, email client or we" "rowser, onto
the Pianoteq interface%

'%- MI5I file player 6standalone version7

The Pianoteq standalone version is e!uipped with a MI5I player that lets you play and
record MI5I files% ;ou can load several MI5I files via *ile ► +oad MI!I file and even
create your own MI5I <laylist via *ile ► Mana"e MI!I la&list %

1(
'%-%1 <lay"ac# speed
;ou can ad$ust the play"ac# speed "y clic#ing on :1 <6times 17=% A menu will appear
where you can choose another value or enter any value "etween K%1 and 1K%
Alternatively, clic# on :1 and drag the mouse to get the value you want%

'%-%' :ecord and Save your performance

Clic# on the record  "utton to start recording your performance live%
Save your MI5I file "y opening the *ile menu% There you can also eport your recording
to a &A>, BAC or M<( audio file%

'%-%( =rilliant performance lostP

At any time, you can retrieve your reent performances via *ile ► $ecentl& pla&ed on
the ,e&board%  <articularly useful when after a "rilliant performance you thin# ?too "ad I
didn.t record this@J &ell, Pianoteq did it for you9 $ust load the latest $ecentl& pla&ed 
on the ,e&board and saveeport it to a regular MI5IA25ID file% It.s as simple as thatJ

or less recent performances, a MI5I Archiver is availa"le, acces to its settings at the
"ottom of the $ecentl& pla&ed on the ,e&board menu%

1)
'%-%) Step "y step in your MI5I file
In the standalone version, for eploring your MI5I file step "y step, forwards or
"ac#wards, use the computer #ey"oard right or left arrows to play single notes or
chords%

'% Interface magnification

The Pianoteq interface is resi3a"le, ma#ing it comforta"le to wor# with any display si3e%
Clic# on Options ► -eneral and select the si3e in the Interface ma"nification menu, or
simply use the handy #ey"oard shortcuts Q09

1*
( Dverview, instruments
&e come now to a "rief overview of  Pianoteq% Its interface is divided into two sections9

 An Instru!ent setion containing innovative features presented in three panels

called Tunin". /oicin".  and !esi"n% 8ach panel opens with a single clic#%

The three Instru!ent setion panels

 An Audio En$ineerin$ setion, which offers you a uni!ue feature availa"le

through the Output menu9 microphones positioning and miing% The section also
offers features li#e velocity curve, volume, dynamics, action and mallet settings,
e!uali3er, rever"eration, chorus, flanger, phaser, compressor and other effects%

The Audio En$ineerin$ setion

Ad$usting any of the parameters is easy% =ut you can also simply choose your instrument
from the instrument menu on the top left%

1+
(%1 Instruments
Pianoteq instruments are "ased on physical modelling ― which simulates the way the
sound is generated and how it propagates in space ― coupled to a mathematical
analysis of original instruments%

The optional instruments are included in demo mode in Pianoteq for your evaluation%
;ou can download additional free instruments from the user area at www%pianote!%com %

(%1%1 Acoustic pianos and predecessors

&tein*ay Model D $rand piano

Authori3ed "y Steinway R Sons, the &tein*ay Model D   grand
piano is a virtual copy of a Steinway 5 from am"urg, famous
for its e!uisite musical epression and "eing featured in
numerous prominent recording studios and concert halls
worldwide% 8ach note has "een carefully ad$usted in its finest
detail, $ust li#e in a real factory% The result is a stunningly vivid
instrument created with the most demanding musician in mind%

&tein*ay Model + $rand piano

Authori3ed "y Steinway R Sons, the &tein*ay Model +   grand
piano was carefully designed to reproduce the finest sound
characteristics of a Steinway = instrument which was selected
"y Modartt for this pro$ect% This model is "ased on the Martha
Argerich edition, and is one of the twenty0five Steinway R Sons
Model =0'11 grand pianos that the prestigious pianist carefully
chose in 'K1) for their musicality% She signed each%

'rotrian ,onert Royal $rand piano

In cooperation with rotrian, Modartt has developed an
accurate physical model of rotrian Concert :oyal grand piano,
rightly considered to "e one of the "est grand pianos in the
world% In order to reproduce the characteristic clarity and
warmth of the original instrument, every detail of the <ianote!
model ahs "een fine0tuned, resulting in an authentic and $oyful
instrument% The "eautiful tim"re and comple resonances are
"reathta#ing%

+l-thner Model . $rand piano

In cooperation with =lthner, Modartt has developed an
accurate physical model of =lthner Model 1 grand piano for
<ianote!% A uni!ue feature in =lthner.s grand pianos is the

14
fourth string for each #ey in the tre"le, called the Ali!uot system% Its purpose is to
create a sympathetic vi"rating string that enhances the tone% This feature is included in
the <ianote! =lthner model%

/0 $rand piano
The grand piano /0, which was created for Pianoteq 1, has
evolved "y com"ining the "est elements of several models% Its
'11 cm 6+ 11U7 ca"inet offers the magnificent sound that comes
from a perfect "alance "etween warmth and "rilliance%

2,1 Ro3 $rand piano

The 2,1 Ro3 piano adds a lot of "ite to your poproc#
recording, and fits "eautifully in a mi with drums and electric
instruments% Its characteristic "right tim"re is also adapted for
epressive playing and suita"le for $a33 recording sessions% ;C*
is modelled from a well #nown apanese grand piano,
fre!uently seen on stages and widely appreciated "y touring
artists for its musical !ualities and relia"ility% It is also a
popular instrument at conservatories and other music schools%

45 upri$ht piano
The 45 upri$ht piano  offers '1 eciting presets emphasi3ing
the characteristics of upright pianos% =esides the "eautiful
tim"re of well0"uilt acoustic pianos, there is higher
inharmonicity and increased imperfections in presets such as
=lues, on#y Ton#, >intage, 5etuned, :uined, =ier#eller,
Tac#y, &avy, &eathered, Clu"%%%

/re!se$$ ,olletion
This collection of "eautiful historical pianos, ranging from the
1-th  Century to the late 1th  Century, has "een created in
colla"oration with Hremsegg Schloss Museum 6Austria7% It
includes virtual copies of pianofortes 7 Dohnal   614*7, 7
+road*ood  614+7, and grand pianos I7 +esendorfer  61-'7, I7
Pleyel  61-(*7, 7 8ren(el  61-)17, &7 Erard  61-)7, 7+7
&treiher  61-*'7, ,7 +ehstein 61-7% Incompara"le for
rendering the music of the Classical period, these instruments can also "e used for more
recent compositions% The late01 th Century pianos, particularly, with a design
approaching that of a modern piano, illuminate $a33 and other modern music%

1-
 9ans Ru3ers harpsihord
The physical model is "ased on a copy "y Matthias riewisch of 
a 9ans Ru3ers II le eune harpsichord 61+')7% This virtual
instrument offers an etension of the original instrument, from
)V to +V octaves, and is e!uipped with three registers W lower
-, upper -, and ), which can "e com"ined in ways not even
possi"le in the real world 6see the B-, 2- and ) "uttons a"ove
the interface #ey"oard7% A local MI5I mapping allows you to change the registration
directly via the ( lower notes of your #ey"oard% =esides sustain and soft pedals, this
harpsichord is e!uipped with a =uff stop pedal and a :attle pedal 6cf% Section 11%17%

(%1%' HI>i: collection

This collection is the result of the / ey"oard Instrument :irtual
R estoration pro$ect% It can "e downloaded from our we"site at
www%pianote!%com % It includes the free instruments
lavihord" i!balo!" harpsihords" pianofortes and aousti
and eletro;aousti pianos % Some of them are presented in
their current state% Their age has caused imperfections, such as
some voicing irregularities, which we have #ept intact% &e
regularly enrich this collection with new instruments%

(%1%( Hey"oard range

/eyboard ran$e e<tension

The grand pianos Steinway Model 5 and H' "enefit from an unprecedented #ey"oard
range etension from -- to 1K* notes 6- ⅔ octaves79

Ori$inal=e<tended ran$e
Most historical instruments included in the /I:iR   collection have a reduced range% or
some of them, it was possi"le to etend this range slightly% The etended range has
"een set to the default range% If for some reason you want to use the original range 6as
for eample using the original sympathetic resonances range7, $ust clic# on the minus

1
sign to the left of the virtual #ey"oard% Clic#ing on the plus sign will allow you later to
come "ac# to the etended range%

(%1%) arp
The 9arp pac# offers a concert harp, physically modelled after a
Salvi concert grand harp%The concert harp for <ianote! includes
the a"ility to play pinch harmonics 6flageolets7 and glissandos%
Moreover, a diatonic playing mode was designed to offer closer
eperience to the reality of the instrument where seven pedals
allow to change the pitch of the strings and play in all #eys%

,hro!ati versus diatoni !ode

=y default, the #ey"oard is set to chromatic mode 6ecept for the diatonic harp preset79

If you clic# on the little 5 to the left of the #ey"oard, you enter the diatonic mode
where only white #eys produce a sound% As in a real concert harp, the #ey signature is
specified "y seven pedals, from left to right 5, C, =, 8, , , A, each pedal "eing
controlled "y a group of three "lac# #eys9

or eample, clic#ing on left "lac# #ey "elow 8 will produce an 8 ♭ alteration whereas
clic#ing on the right "lac# #ey will produce an 8X alteration%

Clic#ing on the little C to the left of the #ey"oard "rings you "ac# to chromatic mode%

Warnin"# if you play a MI5I file in diatonic mode, each "lac# #ey encountered in the MI5I
file will produce the relative change of the #ey signature%%% you might "e surprisedJ

'K
 (%1%* 8lectric pianos
The Eletri pianos pac# offers three ama3ing electro0acoustic
pianos from the seventies% 8ach 8lectric <iano 6 /inta"e Tines
M0I. /inta"e Tines M0II  and /inta"e $eeds W1 7 is provided with
several variants% 2sing the rich interface features, you can
customi3e them to your own taste%

(%1%+ ohner Collection

The 9ohner 0  ,olletion, authori3ed "y ohner, includes four
famous instruments manufactured from the early sities until
the early eighties9 2lectra3piano, ianet N. ianet T  and
Clavinet !4 % The virtual copies for <ianote! "enefit from its
physical modelling9 addition of a sustain pedal, range etended
to seven octaves and possi"ility to ad$ust physical properties%

(%1%4 >i"raphones
The :ibes pac# offers two "eautiful vi"raphones% /3M is a virtual
copy of a Musser vi"raphone that "elongs to the famous rench
vi"raphonist 5any 5ori3% /35 is a virtual copy of a =ergerault
vi"raphone that "elongs to the Condorcet studio in Toulouse
6rance7% The "ars are made of metal%

(%1%- /ylophone and Marim"a

The >ylo pac# includes a ylophone and a marim"a% The
ylophone virtual copy is modelled after a modern (V0octave
rench "rand and the marim"a virtual copy is modelled after a
modern five0octave rench "rand% In contrast with the
vi"raphone, the "ars are made of wood instead of metal%

(%1% Toy piano, Celesta, and loc#enspiel

The ,eleste pac# includes a toy piano, a celesta and a
gloc#enspiel% The sound of the toy piano is produced "y small
hammers stri#ing metal rods% The virtual toy piano is modelled
after a two octaves Michelsonne instrument and is etened to )
octaves% The celesta resem"les an acoustic upright piano "ut

'
 ohner is a registered trademar# of Matth% ohner m"

'1
houses metal plates struc# "y felt hammers resem"ling piano hammers% The virtual
celesta is modelled after a modern five0octave erman "rand% The gloc#enspiel also has
metal plates "ut they are struc# "y hard metal mallets held "y the musician% The virtual
gloc#enspiel, modelled after a modern rench "rand, has "een etended to cover four
octaves%

(%1%1K Steelpans
The Pianoteq physical model has "een enriched to produce the
characteristic tim"re of steelpans, with their U"loomingU
overtones that are due to the mechanical properties of thin
steel sheets% Steel drums were originally "uilt from empty oil
"arrels as the popular drums were for"idden "y the Trinidad
government%

The &teelpans pac# includes ) instruments9 Steel 5rum, Spacedrum, and <an and Tan#
5rum% 8ach instrument is provided with one preset faithful to the original instrument
modelled and several variants%

The &teel Dru! instrument is a com"ination of the #nown types, the Udou"le secondU,
the UtenorU, the Udou"le guitarU, the Utriple celloU, and covers ) octaves%

The &paedru! is a recent variant of the 9and Pan% =oth instruments offer presets for
hand playing and mallet playing, and are etended to ) octaves% The "looming effect is
a "it less pronounced than in the Steel 5rum%

The Tan3 dru! is made of thic#er metal from a gas tan#% Several tongues are cut into
the "ottom of the tan# for producing the notes% 5ue to its shape and thic#ness, there is
almost no "looming effect% The instrument is etended to (V octaves%

(%1%11 Dther instruments

Dther instruments such as church "ells and tu"ular "ells, are availa"le for download on
our we"site at www%pianote!%com % Su"scri"e to our newsletter for the latest
information%

''
(%' Managing instruments and presets
;ou can load and save instruments from the instruments menu 9

This menu lets you choose from a list of "uilt0in instruments  and  presets, etra
instruments 6files with etension %pt!7 or presets 6etension %fp7 that you have saved in
your <ianote! folders% More details are provided in section (%)%'%

(%'%1 5ifference "etween ?instrument@ and ?preset@

The physical model contains a great num"er of parameters, "ut only a small proportion
of them are availa"le through the user interface% &hen only the user interface
parameters are changed, then we say that it is still the sa!e instru!ent "ut a different
preset% Hence presets are understood as variations of a given instrument%

or eample, Stein6a& Model ! relude   and Stein6a& Model ! Classical are the same
instrument, as the difference lies in the microphone position which can "e defined "y
the user himself% Dn the contrary, Stein6a& Model ! relude   and 07 relude are two
different instruments "ecause it is impossi"le to o"tain one of them "y modifying the
user interface parameters of the other%

(%'%' Instrument modifications

;ou can change any parameter of the current instrument or preset "y moving the
corresponding slider with the mouse% Moving the mouse cursor  perpendicularl&   to the
slider will ma#e the slider move slowly%

8ach time you modify parameters in Pianoteq, a few computations are needed to
update the instrument 6physical model7%

Dnce you are done, the edit  and save "uttons to the right of the instruments menu
allow you to edit and save your new preset%

Also have fun trying the $andom "utton, which changes all settings randomlyJ

'(
(%( ints
(%(%1 Creating your own instrument
enerally spea#ing, you will find it more interesting to ma#e ad$ustments, large and
small, in several parameters instead of ma#ing a single large ad$ustment% Moving a
single slider to the left may throw the weight of the sound onto other parameters that
you may want to ad$ust% Moving a slider to the far right may o"scure the contri"ution
other parameters ma#e to the sound, or ma#e their small contri"ution seem too strong%
Moreover, the parameters that interact may "e in separate panels, since each panel has
controls that modify the way in which a single physical component of a piano
contri"utes to the sound, instead of controlling the sound in general% This manual often
touches on these ad$ustments% urther eperimentation will let you eperience the ways
in which the parameters interact% Ma#e a small ad$ustment in one parameter and a large
one in another% Ma#e large and small ad$ustments everywhere% ;ou can create almost
any sound that a piano can create, and more%

(%(%' =rilliance
=rilliance is an important sound !uality for achieving good realism% ;ou may want to
ad$ust it whether you are staying close to the loudspea#ers, or listening at low volume
levels, or using headphones% ;ou can for eample change the hammer hardness from the
/oicin" panel, or use the 8E from the lower panel%

The #ey"oard velocity itself plays a crucial role in the sense of "rilliance% >isit the
Pianoteq user forum http9www%forum0pianote!%com  where users provide velocity
curves for many types of #ey"oards% See also the tutorial in section 1(%)%

(%(%( 2sing rever"eration

Bistening through loudspea#ers usually re!uires significantly less rever"eration than
through headphones% The reason is simple9 when using loudspea#ers, the sound is
naturally rever"erated "y the room in which they sit% &e thus recommend that you
reduce the reverberation mi)  when using loudspea#ers%

Moreover, it is worth mentioning that "ypassing rever"eration in Pianoteq does not have
the same effect as "ypassing rever"eration in a sample0"ased instrument% In the latter
case, unless recording was made in an anechoic cham"er, there is a natural
rever"eration present in the recorded samples which may not "e perceived as
rever"eration "ecause the note release cuts the rever" tail itself, whereas in Pianoteq"
there is no rever"eration whatsoever when you switch it off% In that case, the sound
loses an important part of its natural !uality and may sound strange or synthetic,
particularly with headphones, "ecause in the real world we never hear sounds without
some rever"eration% ence, we recommend "ypassing rever"eration only when using an
eternal W or natural W rever"eration%

')
(%) eneral commands
(%)%1 <laying with the parameters
In Pianoteq you can modify and create your own presets, save them and share them
with other users% The following commands are located at the top of the interface%

 The edit 6pen7 and save "uttons allow you to edit and save your new preset%

 The free(e chec#"o allows you to select the parameters that you want to #eep
unchanged when changing instrument or preset% This is a very convenient feature
for ?transporting@ settings from one instrument to another%

 The rando!  command allows you to randomly change tunin", voicin". and desi"n
parameters% <arameters located in the Audio 8ngineering section are not
affected "y the random command%

 2sing the undo=redo commands, you can at any time undo and redo the changes
you have made9 up to 1KK undos are possi"le% A right clic# on the "utton shows
you the last modification%

 The A+ "utton allows you to switch "etween two presets A and =, one "eing in
the foreground while the other is in the "ac#ground% The led  "eside them is lit as
soon as A and = are different% Clic#ing on the led copies the foreground preset
into the "ac#ground preset% A right clic# on the A= "utton lists the differences
"etween A and =% A and = presets have their own undoredo stac#%

'*
(%)%' Managing and sorting presets
&hen you clic# on the edit "utton, the following presets manager appears9

It lets you manage the instruments and presets from the instruments menu% ;ou can edit
the presets information, sort or filter them 6see some part of them7, rename them, etc%

Edit
Information on each preset is displayed at the "ottom of the presets manager, as well as
a small demo ecerpt 6 mini3pla&er   to the left of the edit "utton7% There you can edit
the information related to your own presets, and record yourself your own demo ecerpt
6left and right clic#s on the mini3pla&er 7%

&ortin$
The way presets are sorted can "e chosen "y clic#ing in the appropriate column9 reset
name, Instrument or 5an,%

'+
A ban,  is a set of presets that are located in a given folder, ecept the  factor&   "an#
which contains all "uilt0in instruments and etra instruments provided as pt! files and
located in the Addons folder%

8ilterin$
;ou can select the instruments and presets that are visi"le in the instruments menu
through three different ?filters@ located on the right side of managing window9 search,
 All instruments, All ban,s% ;ou can also clic# on individual instruments or "an#s%

Rena!in$ presets
A dou"le clic# on a user preset name allows you to rename it% ;ou can also open the
contetual menu "y clic#ing on the small arrows in the MI!I column%

The Pianoteq folders

The easiest way to find the Pianoteq folders is to clic# on the little folder images to the
right of All instruments and All ban,s% The Pianoteq folder contains two su"0folders9
  Addons9 this is where to store the etra instruments provided as pt! files,
 <resets9 this is where to store the user defined "an#s% 8ach "an# is itself a folder
that contains presets with fp file format%

I!portin$ f<p files

There are two ways of importing fp files9
 5rag and drop the file into the interface,
 Copy the file into the appropriate folder%

&avin$ presets
After you have created your new preset, you can save it "y simply clic#ing on the save
"uttonY a popup window will as# you for a preset name and a "an# name 6default "an# is
M& resets7% 8ach time you clic# again on the save "utton, you will save the new values
with the same preset name% ;ou can access "ac#up copies with a right clic# on the
preset name 6if there are some7%

'4
(%)%( Assigning a parameter to a MI5I controller
;ou can assign Pianoteq parameters to MI5I controllers such as those that may "e on
your #ey"oard% Select the parameter slider that you want to assign 6right clic# on the
slider and clic# on MI!I ► Assi"n MI!I Control 7 and move the #no" of the MI5I controller
that you have chosen for this parameter% <ianote! will automatically assign the
parameter to the controller% More sophisticated possi"ilities are provided in the
Options8MI!I section%

Any MI5I control may "e assigned ecept the following ones9 MI5I controls +, (-, +01K1
which are used for :<N and N:<N MI5I parametersY controls 1'K to 1'4 are reserved for
various reset operations 6Uall notes offU etc%7Y controls (' to +( are reserved for 1)0"it
precision controllers%

(%)%) Instrument controls

The following ta"le summari3es Pianoteq main controls that are associated with
instrument features and will "e discussed in the net sections%

Feature Controls Action

Pitch 5iapason Changes A 6a"ove middle C7 fre!uency
Tuning Temperament Chooses among standard temperaments
2nison width re!uency variation within each unison
6group of three strings7
Dctave stretching Stretches octaves
Sound length 5irect sound duration Modifies the direct sound duration
Sound"oard mechanical Modifies the glo"al sound duration9 raising
impedance impedance yields longer sounds
Timbre Spectrum profile Modifies individual intensity of the first
eight overtones
ammer noise Modifies the hammer noise level
Stri#e point Changes the overtones level
Sound"oard cut0off :aising cut0off fre!uency enriches high
fre!uency fre!uencies of each tone
Sound"oard E factor :aising E factor shortens high fre!uencies
duration
String length Controls sound ?acidity@ 6inharmonicity7
Brilliance ammer hardness 8nriches the high fre!uencies9 the harder
the hammer, the "righter the sound
Resonance Sympathetic resonance Controls the amount of sympathetic
resonances 6strings, sound"oard, ca"inet7
5uple scale resonance Controls the amount of 5uple scale
resonances 6undamped string parts7

'-
)arnin$9 when ad$usting the parameters to etreme values, one may create
instruments having unusual or even unrealistic properties% ence one can create sounds
that do not correspond to #nown instruments%

inally, the Condition slider lets you modify the state of the instrument, from freshly0
tuned to completely worn0out% :ight0clic#ing on this slider and changing the $andom
seed  parameter allows you to en$oy thousands of "ro#en instrument variations%

'
) Tuning panel
Pianoteq allows you to perform all of the tuning operations usually made "y a piano
tuner% The Tunin" panel contains the following controls9

)%1 5iapason
The standard diapason 6A a"ove middle C7 fre!uency ( is ))K 3, "ut you can change it to
other values "y clic#ing in the !iapason menu%

)%' Temperament
The temperament defines the way the scale is tuned% =y clic#ing in the Temperament
menu, you can choose from among the following temperaments 6see appendi79
2qual9 the standard tuning


9arlino 6circa 1**-79 sometimes called the ?physicians scale@, "ased on harmonic



thirds 6ratio *)7 and fifths 6ratio ('7

&tha"ore 6>Ith  A%C%79 "ased on harmonic 6pure7 fifths ecept for one 6the so0


called ?diabolus in musica @7% Can you hear which one it isP
Mesotonic. Well3tempered   and Werc,meister III  6/>IIth79 une!ual temperaments


used in "aro!ue music

*lat9 octaves ratio is strictly ', for use in certain circumstances, for eample


with synthesi3ers%

The !etune entry in "oth 5iapason and Temperament menus gives you access to the
Note 2dit 3 !etune  panel where you can detune your instrument note per note%

(
 re!uency is the num"er of oscillations per second%

(K
A uni!ue feature of Pianoteq is that tuning does not follow a pre0computed fre!uency
ta"le 6ecept for the flat temperament7, "ut ta,es into account the inharmonicit& of 
the strin"s. in the same 6a& a piano tuner does 6ith acoustic pianos % ence, the
consonance of the notes is improved and the chords have a fuller and richer sound%

or other temperaments, you can enter the  Advanced Tunin" panel "y clic#ing on the
:mu; "utton % There you can import your own scala< files and #ey"oard mappings
via the Temperament and 0e&board Mappin"  menus%

&hen retuning an instrument, you can choose among two options9 Strin" tension  or *ull
rebuild % Changing the string tension affects the tim"re of the instrument "ecause
inharmonicty increases when tension decreases, whereas full re"uild recali"rates all
strings in order to provide the same tim"re for a given pitch%

)%( 2nison tuning

As very few people #now, the three strings of each piano unison 6the strings hit "y each
hammer7 are not tuned at eactly the same fre!uency% To change the timbre or colour 
of the sound, a s#illed piano tuner introduces small tuning differences "etween these
three strings%

)
 or more information, see http9www%huygens0fo##er%orgscala

(1
8periment yourself "y gently changing
The unison 6idth , that is, the difference "etween the lowest and the highest


fre!uency produced "y the three strings of a single note,

The unison balance , which allows you to ad$ust the intermediate fre!uency of a (


strings choir from the lowest 6"alance Z 017 to the upper fre!uency 6"alance Z Q17
of the choir, "alance Z K "eing the factory setting value%

)%) Dctave stretching

It is !uite usual to stretch octaves* in a piano, "ut how much should they "e stretchedP
&ellL this might "e a matter of tasteJ Ad$ust it to your own taste "y modifying
 The octave stretchin"  parameter% The main effect will "e o"served in the tre"le
notes%

&hen the octave stretchin"  parameter is set to 1, the stretching follows the natural
inharmonicity of the strings 6depending on the string length7, so there still is a slight
stretching% If you want no stretching at all, then use the flat temperament%

in the Advanced Tuning panel Stretch menu, you can transfer the stretchin" 6the
amount of detuning7 induced "y inharmonicity to the 5etune parameter, which allows
you to o"serve directly that detuning in the Note 8dit 0 5etune panel%

*
 The musical interval "etween the two closest notes with the same name 6e%g% A( and A)7 is
called an octave% The theoretical fre!uency ratio "etween two such notes is ', "ut in practice it
is slightly stretched "ecause of the inharmonicity of the strings and the property of the human
ear 6cf% also 5esign <anel7%

('
)%* 5irect sound duration
Dne conse!uence of modifying unison fre!uencies is that you change the direct sound
duration% The same thing happens when reshaping hammers% If you prefer, you can act
directly on this duration "y changing9
 The direct sound  duration%

Time representation of a piano sound deca&. natural scale 'l eft( and lo" scale 'ri"ht(%
*ast deca& at the be"innin" 'direct sound(. slo6 deca& after 'remanent sound(%

((
* >oicing panel 6acoustic7
The strings of a piano are struc# "y the hammers, small wooden pieces covered with
hard felt% or a piano tuner, voicin" consists in ?shaping@ the sound according to the
pianist.s taste% This is made "y wor#ing on the hammer felt, giving it the desired shape,
hardness and elasticity%

Pianoteq allows you to perform this same voicing operation% The voicing panel offers
you the following controls9

*%1 ammer hardness

ere you can choose the hammer hardness at three different velocities9
 iano. corresponding to MI5I velocity ('
 Me==o forte. corresponding to MI5I velocity +)
 *orte, corresponding to MI5I velocity +%
The harder the felt, the more "rilliant the sound "ecomes% Df course, the louder you
play, the harder the felt should "e, unless you wish to t ry some original playing effectsJ

*%' Spectrum profile

ere you will find small sliders that allow you to ad$ust the individual intensity of the
first eight overtones 6cf% section -%'7% 8periment with it "y increasing the weights of all
 fundamentals  6the first overtone is called the fundamental7 "y raising the first "ar%
5epending on the piano "rand, the seventh, eighth or ninth overtone is usually wea#er
than the other overtones 9 the strength of the overtones is related to the hammer stri#e
point defined "y the piano manufacturer%

()
 Time. frequenc& and time3frequenc& representation of a note. before and after voicin"%
>ere. amon" other thin"s. the first overtone intensit& has been increased%

*%( ammer noise

;ou can ad$ust the hammer noise , that is, the weight of the hammer percussion sound%
&ith a loud hammer noise, you will feel as though you are standing close to the piano%

*%) Stri#e point

The stri,e point  slider allows you to choose the position where the string W or the "ar
for percussion instruments W is struc# "y the hammer or the mallet%

A special humani=ation feature allows the stri#e point to vary as if it was played "y a
human musician% This feature is particularly suita"le for the chromatic percussion
instruments% :ight clic# on the stri,e point  slider and select humani=e% ;ou can ad$ust
the range of the random variation on "oth sides of the mean stri#e point%

*%* Soft pedal

ere you can control the smoothing degree of the una corda pedal, also called the soft
 pedal% 5espite its name, the una corda pedal usually lets the hammer stri#e the three
strings, "ut with a softer part of the hammer felt%

(*
+ >oicing panel 6electro0
acoustic7
The tone sources 6reed, tine, "ar7 of an electro0acoustic piano are struc# "y hammers or
mallets whose hardness can vary, depending on the material that is used% ere again, as
for acoustic pianos, Pianoteq provides a voicing panel that offers the following
parameters9

>ammer hardness , spectrum profile   and hammer noise  wor# in the same way as with
acoustic instruments%

+%1 <ic#up symmetry

In an electro0acoustic piano, the pic#up is not eactly in front of the tone source at rest%
&hen it is eactly in front, due to the symmetry of the device, the note $umps one
octave higher than the normal tone% Moving the <ic#up symmetry slider from left to
right ma#es the pic#up move from an unsymmetrical position to a symmetric position,
providing thus a wide range of tim"res%

+%' <ic#up distance

The pic#up distance slider sets the distance "etween the tone source and the pic#up%
&hen the pic#up is moved closer to the tone source, the sound "ecomes more distorted
and the tim"re variation "etween soft and loud sounds increases%

(+
4 >oicing panel 6clavinet7
The clavinet wor#s much li#e a clavichord% &hen a #ey is depressed, a small ru""er tip
stri#es the string and presses it on to an anvil% It contains two sets of pic#ups, positioned
a"ove and "elow the strings, and is usually electronically amplified%

The voicing panel of the clavinet lets you choose among the four standard pic#ups
settings9
 A0C9 ?ower pic#up
 =0C9 4pper pic#up
 A059 "oth pic#ups
 =059 "oth pic#ups "ut out of phase%
8ven more, it lets you ma#e any continuous change "etween these four settings "y right0
clic#ing on the two C5A= "uttons%

The original register switches for tone colours =rilliant 6shortened to U=rightU7, Tre"le,
Medium, Soft are also availa"le%

>ammer hardness , spectrum profile and hammer noise  wor# in the same way as they do
with acoustic instruments%

(4
- 5esign panel 6acoustic7
This panel offers controls over piano design parameters such as string length or
sound"oard characteristics 6the sound"oard is the wooden plate which transmits the
string vi"rations to the air%7

-%1 Sound"oard
Dn a real piano, you cannot change the sound"oard mechanical impedance +% &ith
Pianoteq, it "ecomes very easy9 it is $ust one of the design parameters% ;ou can control9
The sound"oard mechanical impedance9 the greater the impedance, the longer


the sound "ecomes%

The sound"oard cut3off frequenc& 9 the higher you set this fre!uency, the more


high overtones will "e present%

The sound"oard ? factor 9 the greater this factor, the faster the high overtones


will decrease%

-%' String length

8ach piano note produces a comple sound, mainly composed of overtones  with
approimate fre!uencies  f. 7f. @f where f denotes the fundamental fre!uency%

A parameter which greatly affects the tim"re 6and the tuning7 is the so0called
inharmonicit& 9 the more inharmonic the strings, the more the overtone fre!uencies of 
each string are driven away from their theoretical values  f. 7f. @f and the more the
piano sound will resem"le a "ell%

Inharmonicity decreases very rapidly with string length% 8periment "y changing the
Strin" len"th % The difference will "e most evident in the "ass range% ;ou can choose up

+
 That is, how the sound"oard resists the string vi"rations, and thus amplifies the sound%

(-
to a 1K meter long pianoJ At such a si3e, there is almost no inharmonicity% <eople say
that piano manufacturers dreamed of producing pianos without inharmonicityL

-%( Sympathetic resonance

The S&mpathetic resonance  parameter controls the weight of the strings. sympathetic
resonances% It is used, for eample, in the famous piece Mi,ro,osmos "y =[la =art\#%
The sympathetic resonances depend on the position of each individual damper, and
conse!uently on the position of the sustain pedal9 it is longer when the sustain pedal is
down, for dampers do not then touch the strings%

8periment "y pressing down a few #eys very slowly so that they do not produce any
sound, and then, without pressing down the sustain pedal, play a few notes staccato%
;ou will hear the resonance introduced into the first depressed notes% If you release
these notes, the sound will stop%

;ou can also do the ?opposite@ eperiment% <lay a note loudly and hold it, press silently
another note, and release the first note9 it continues resonating in the second note%

-%) 5uple scale

The !uple) scale parameter controls the weight of the duple scale resonance, issued
from the undamped string parts located "etween tuning pins and frame 6front scale7 and
"etween "ridge and frame 6rear scale7% This invention was patented "y Steinway 6who
consulted with the physicist ermann von elmholt37 in 1-4' and enriches the harmonic
content of the notes%

-%* =looming
The 5loomin" parameters, first designed for steel drums, can also "e used for the other
instruments, allowing to create new sounds% The ?"looming@ effect that characteri3es
the tim"re of the steel drums arises from the non linearity of the mechanical response
of thin steel sheets% 5uring the attac#, some energy is transferred from lower to the
higher overtones, producing a ?"oiinng@ sound% Two parameters control this effect9
 The bloomin" ener"&  parameter controls the amount of mechanical energy which
is transferred from lower to higher overtones,
 The bloomin" inertia  parameter controls how fast this energy is transferred9 the
higher the inertia, the longer it ta#es to "e transferred%

(
 5esign panel 6electro0
acoustic7
The tines that serve as resonator in certain electro0acoustic pianos produce a typical
noise when hit "y the hammer during the attac#, or "y the damper during the release%
In the Pianoteq  8lectric <ianos /inta"e Tines M0I and /inta"e Tines M0II , these two
noises can "e controlled separately "y the Tine noise hammer and the Tine noise
damper parameters%

Impedance and s&mpathetic resonance wor# in the same way as with acoustic
instruments%

ere again, the 5loomin" parameters, first designed for steel drums, can "e used for the
electro0acoustic instruments, allowing to create new sounds% See in particular the ? M0I
5loomin" -rit @ preset%

)K
1K >elocity panel
Dn the left side of the Audio 8ngineering section, you can find a velocit&  control curve,
allowing you to ad$ust Pianoteq to your #ey"oard% ;ou can add or remove control points
6dou"le clic# to remove7 and modify the curve "y moving them with the mouse% The
upper menu lets you separately ad$ust /elocit& , Note3off , edal  and  Aftertouch
velocities%

A right clic# on the velocity graphic opens a menu where you can select and manage
velocity presets%

The calibration  "utton opens the 0e&board calibration assistant   which will help you
ad$ust Pianoteq to your #ey"oard and pedal and to your own playing style% &e strongly
recommend that you follow that procedure at least once% See also tutorial 1(%)%

The reset "utton resets the displayed velocity curve to the default curve%

If your digital #ey"oard is not e!uipped with Aftertouch, you still can test Pianoteq@s
Aftertouch "y clic#ing with the mouse on its graphical #ey"oard and dragging the cursor
vertically a"ove the #eys%

)1
11 Dutput panel

In the middle of the Audio 8ngineering section you will find9

 A menu that allows you to choose from among four recordin" modes 9
stereophonic, monophonic, sound recordin"   and binaural% The sound recordin"
mode lets you set !irophone   positions for acoustic instruments% The binaural
mode includes a head !odel and is mostly intended for use with headphones%
The stereophonic  and monophonic modes are used with electro0acoustic
instruments and also allow compati"ility with previous <ianote! versions% Clic#
on save as for saving your microphone settings%

 A volume >2 meter, e!uipped with a limiter   than can "e turned onoff "y a
simple clic#% =y reducing high amplitudes, the limiter is intended to avoid crac#s
that may appear when the amplitude is too high 6in such a case, the clipping led
to the right of the vu0meter shows up7%

 The sound volume% ;ou can ad$ust it note "y note via a dou"le clic# on the slider%

 The sound d&namics, which controls the loudness level "etween  pianissimo and
 fortissimo% Since it is applied to each note, it can "e seen as the ideal
o!pressor for it allows you to ad$ust the dynamics without any distortion% In
particular, the attac# and decay of individual notes are not modified%

 Ten types of pedals that can "e assigned to the four user interface pedals 6you
can change the default assignment for each pedal "y right0clic#ing on the pedal7%

)'
11%1 <edals

The ten pedals that can "e used are the following9

o Una corda pedal, also called soft pedal% It moves the piano action to the
right 6on grand pianos7, so that the hammers stri#e the strings differently,
changing the timbre of the notes,

o Celeste pedal, also called moderator, where a felt strip is interposed

"etween hammers and strings, creating a softer sound% This pedal is
usually found in upright pianos and in some pianofortes,

o >armonic pedal, allows you to play staccato while maintaining the sustain

pedal resonance effect,

o Sostenuto  pedal, allows you to hold some notes after release without
pressing down the sustain pedal% 5epress some #eys, depress the
sostenuto pedal, release the #eys, and the sound of the notes will
continue as long as the sostenuto  pedal is down% Chec# UIgnore the
sustain pedalU if you do not want the sostenuto  pedal to capture the
dampers lifted "y the sustain pedal,

o Super Sostenuto pedal, where the notes held "y the sostenuto  can "e
replayed staccato, which is not possi"le on a UrealU piano,

)(
 o Sustain pedal, which lifts the dampers, letting the strings ring after the
#eys are released% =eing progressive, it allows the so0called ?partial
pedals@4,

o $attle pedal, also called bassoon pedal, which e!uipped certain historical

pianos, as for eample the =esendorfer from the Hremsegg collection% A
piece of parchment comes into contact with the strings to create a
"u33ing noise resem"ling the sound of the "assoon,

o 5uff Stop  pedal, where a wooden "ar covered with leather or felt is
pressed against the strings, softening and shortening the tone% It can "e
found in some harpsichords and historical pianos% Dn a real harpsichord,
the "uff stop generally acts only on one register, leaving the other
registers untouched% In <ianote!, you can select which registers are
affected "y the "uff stop pedal% This can "e done via a right clic# on the
register "uttons 6B-, 2-, )7, which gives you also access to the level and
detune of each register9

o -lissando pedal, which produces smoother note attac#s, as when a harpist

plays glissandos on his harp,

o inch >armonic  pedal, which produces harmonics "y shortly touching the
string at a specific point on new notes, producing harmonics% Also #nown
"y harpists as flageolet%

4
 If your piano supports a fine enough MI5I progression when using the sustain pedal%

))
11%' A sound radiation physical model
The Pianoteq instruments are "ased on a physical model of the sound"oard and its
radiation% It simulates the sound field generated "y the instrument, and thus allows you
to place !irophones  anywhere around the piano, or $ust a"ove the sound"oard, or
even "elow the piano if you want% The acoustic pressure and pressure gradient are
measured where you place the microphone, which allows to simulate omnidirectional
microphones as well as directional microphones%

A head !odel is also provided9 here, an additional treatment is applied to the sound
pressure registered "y the ears of the listener% It can provide an increased realism when
listening with headphones%

11%( Sound recording mode

Dnce you have selected the recording mode, the microphone window opens 6you can
detach the microphone window "y hovering the mouse cursor a"ove the microphone
area and dragging it with the mouse7% ;ou can then drag a microphone to any location
around the instrument and choose its direction%

)*
11%(%1 Microphones and microphones techni!ues
Several types of virtual microphones are availa"le, such as omnidirectional, cardioid and
figure -, to choose from a range of well0#nown microphone "rands9 2-4 6omni, cardio
and fig-7, 5<A0)KK+0)KK40)K110)K)1, C)1) 6omni, cardio and fig-7, CMC+0MH'0MH), S0
1'0'), :-), as well as two UperfectU microphones 6they capture the acoustic field
generated "y the model without any distortion7 9 perfect0omni et perfect0fig-%

&hen ro)imit& effect compensation  is chec#ed, an automatic compensation algorithm

is involved which avoids the increase in "ass response when the microphone is close to
the sound"oard%

)+
To ma#e it easier moving several microphones, you can lin# them together, either "y
the +in, to command from the microphones menu, or "y dou"le0clic#ing in "etween the
microphones you want to lin#% Then you can move them, rotate them and ad$ust their
distance to each other%

=y right0clic#ing in the mic area, you can save your mic settings as a Mic% reset and
load those you have created%

ere are a few classic microphones techni!ues%

 A= Techni!ue% Two omnidirectional microphones are placed approimately *K cm

61U7 of each other% The techni!ue is denoted =A in <ianote! when the leftright
channels are reversed%
 /; Techni!ue% Two cardioid microphones are placed as close as possi"le and
facing each other at an angle ta#en "etween K ] and 1(*]%
 D:T Techni!ue% Two cardioid microphones are placed approimately 14 cm 64U7
of each other 6distance "etween our ears7 and facing each other at an angle of 
11K]%
 MS Techni!ue% An omnidirectional microphone 6M7 and a figure - microphone 6S7
are placed as close as possi"le and facing each other at an angle of K ]% The
output used in the left and right channels are then MQS and M0S%

A= /; D:T MS

)4
11%(%' Mi ta"le
The mi ta"le allows you to mi the microphones into the different output channels% or
each active microphone and each active channel, you can ad$ust the volume, the delay
and the polarity that you want to "e applied "y clic#ing in the corresponding cell 6right
clic# opens the popup7% <olarity is reversed when $eversed polarit&  Z 1% &hich channels
are active depend on your audio configuration%

)-
11%(%( Compensation
&hen switched on, +evel compensation and !ela&  compensation compensate
respectively for the level and delay on each line connecting a microphone to a channel%
&hen switched off, the raw sound from the microphones is heard9 the volume decreases
with the distance from the piano while the delay increases% In "oth cases, level and
delay that you ad$ust in the mi ta"le are relative to the chosen configuration%

11%(%) Stereo width and sound speed

Two other parameters can "e ad$usted in the sound recording mode9
 The stereo 6idth% This parameter allows you to narrow or "roaden the stereo
image of the instrument,
 The sound speed % Since this parameter was present while we developed the
model, we chose to ma#e it availa"le for you% Its effect is e!uivalent to changing
the time unit% It modifies the travel time of the sound waves in the air%

11%(%* Bid position

The lid can "e raised or lowered% over the mouse over the top edge of the lid and drag
the lid to raise or lower it% This feature appears in the same panel as the microphone
position "ecause it is part of the acoustic radiation model and thus directly influences
the sound waves captured "y the microphones%

)
11%(%+ =inaural mode
If you have selected the binaural  mode, you can choose the position of the listener
around the piano% The "inaural mode involves physical modelling of a dummy head% ;ou
can rotate the head in any direction, and you can even increase its si3e 6for "ig headed
people only7%

11%(%4 A"out the microphones position

As is well0#nown among sound engineers, the microphone position has a dramatic effect
on the resulting sound of the piano9 for some positions, the sound is nicely "alanced
from low to high fre!uencies while other positions lead to a strongly coloured sound%
There might "e places where some fre!uencies are almost completely missing 6wave
nodes7, and even the "est position is far from rendering a purely flat response9
recording always "rings some additional colour, which ma#es sound recording a real art%

The net graphic gives an idea of how ?flatness@ can vary with the position9 the lower a
point of the surface, the flatter the response "ecomes%

*K
1' rom action to effects
The lower right panel gives access to the  Action. Mallet 5ounce. 2quali=er and 2ffects
settings% The "uttons "elow it provide a shortcut for ena"lingdisa"ling the selected
effects and the rever"%

1'%1 Action
ere you can ad$ust several parts of the piano action9
 !amper position 9 when a note is released, the damper falls "ac# on the strings
and each overtone decays more or less rapidly depending on the damper position%
It is particularly noticea"le in the "ass notes when using partial pedals 6and also
with #ey"oards sending varia"le #ey release velocity7,
 !ampin" duration 6efficiency of the dampers7,
 +ast damper 9 all #eys with MI5I note num"er greater than this value have no
damper,
 Mute9 ma#es the dampers more or less press onto the strings,
 0e& release noise.
 Sustain pedal noise 9 ?whoosh@ when all dampers rise together, as well as when
they fall%

1'%' Mallet "ounce

This feature is particularly interesting for the chromatic percussion instruments,
including the cim"alom%

*1
;ou can ad$ust the way the mallet "ounces on the "ar 6or on the cim"alom strings79
 Initial dela& 9 ad$ust the delay for the initial "ounce
 /elocit& sensitivit& 9 the higher the sensitivity, the longer the first "ounces at
high velocity 6the ?drop height@ has increased7
 !ela& loss9 ad$ust the amount of delay loss from one "ounce to the net one
 /elocit& loss9 ad$ust the amount of velocity loss from one "ounce to the net one
 >umani=ation9 ad$ust the random variation of all these parameters%

1'%( 8!uali3er
Contrarily to the 2qu@ effect 6cf% Section 1'%)7, this equali=er   wor#s in pre0processing
6modifying the model before computing sound7% The fact that it wor#s in pre0processing
allows automatic volume compensation9 for eample, when increasing the medium
spectrum, it will increase the medium fre!uencies in each note while #eeping the
natural "alance across the #ey"oard% In other words, the middle notes will not get
suddenly louder than the other ones% Another advantage of pre0processing is that it
allows very fine variation in the 8E curve, unli#e on a standard ( "and 8E% ;ou can add
6clic#7 or remove 6dou"le clic#7 control points and modify the curve "y dragging them
with the mouse%

1'%) 8ffects
The effects panel lets you chain three effects that can "e switched if wanted%

*'
The effect menus allow you to select among the following effects9 Tremolo. Wah.
Chorus. *lan"er. haser. !ela&. Amp. Comp. 2qu@ %

The following controllers are shared "y several effects9

 !ela& 9 the length of the delay line in milliseconds
 !epth9 the loudness variation in d= in the effect
 *eedbac,9 the percentage of signal feed"ac# in the effect delay line
 Mi) 9 the ratio of the effect and the unprocessed sound
 Mono switch9 changes the effect from mono to stereo
 $ate9 fre!uency of the oscillator that modulates the effect
 Stereo9 phase offset "etween the stereo oscillators
 S&nc switch9 its menu allows synchroni3ing the effect to the tempo
 Tone9 simple tone control for the delayed signal%

In the Tremolo  effect, you can control the shape of its BD "y draging the mouse
hori3ontally and vertically over the Shape curve%

In the Wah effect, the Wah slider itself is the direct controller of the 6ah36ah  effect
6right clic# on it and clic# on MI!I to assign it to a MI5I controller7% In  Auto3Wah mode,
the Wah is modulated "y the amplitude of the sound% Specific Wah controllers9
 Sensitivit& 9  Auto3Wah is disa"led when the slider is at the etreme left% The
more you push it to the right, the lower the amplitude which starts triggering the
Wah effect
 !epth9 controls the upper limit of the fre!uency shift for the 6ah36ah filter%

*(
Similarly, in the haser   effect, the hasin" slider is the direct controller of the  phaser 
effect% Specific haser  controller9
 Intensit& 9 the width of the fre!uency sweep, ranges from K^ to 1KK^%

The Amp effect simulates an amplifier e!uipped with the following controllers9

 Mi) 9 the ratio of the effect and the unprocessed sound
 !rive9 amount of distortion introduced in the signal
 5ass9 amplifier low fre!uencies "oost
 Midran"e9 amplifier mid0range "oost
 Treble9 amplifier high fre!uencies "oost%

The Comp effect is a standard compressor with the following controllers9

 $atio# gain ratio inputoutput a"ove the threshold
  Attac,# the time it ta#es for the compressor to reduce the gain once the signal
reaches the assigned threshold level
 $elease# the time it ta#es for the gain reduction to end once the signal drops
"elow the assigned threshold level
 Threshold# the level at which the compressor gain reduction starts
 -ain# the gain in the overall level after the compression%

*)
The 2qu@ effect is a simple (0"and parametric e!ualiser% 5ragging control points on the
interface will change the cutoff0fre!uency and the gain of each "and% <ressing the
.shift. #ey while dragging will change the E factor of each "and%

1'%* :ever"eration
A new convolution rever"eration unit simulates acoustic surroundings ranging from
Studio up to very long rever"s li#e Cathedral or Ta$ Mahal% It includes other types of 
rever"s such as <late, Spring, Spea#ers, =roceliande%%% In PIANOTEQ &TANDARD or
PIANOTEQ PRO, you can even load your own rever" impulses via +oad WA/ impulse in
the reverb menu%

The reverberation is controlled "y the following parameters9

 Mi) 9 the relative level in d= "etween rever"erant sound and direct sound
 !uration9 the length of the rever"erant sound
 $oom si=e9 from * to *Km
 re3dela& 9 the time "etween the direct sound and the rever"erant sound
 Tone9 a tilt e!uali3er that only affects the reflected sound, dar#er to the left,
"righter to the right
 Tail 8 2arl& reflections 9 the relative level in d= "etween early reflections and
rever"eration tail%

**
1( <ractice
And now, a few tutorials to help you understand how Pianoteq wor#s% &e will learn how
parameters influence the sound% It is important to notice that Pianoteq also lets you
produce new sounds which could never "e o"tained from a real instrument%

1(%1 Tutorial 19 tuning

&hat is the difference "etween a ?normal@ piano and a ?hon#y ton#@ pianoP Most of the
difference can "e found in the unisons tuning% 8ach note has three strings, ecept in the
"ass range% The hon#y ton# sound comes from the fact that these three strings are not in
tune9 they do not produce the same fre!uencies% ;ou can o"tain this effect "y moving
the unison 6idth slider to the right in the Tunin" panel9

Normal tunin" >on,& ton, tunin"

owever, having the three strings perfectly in tune is not necessarily "est% If you push
the slider completely to the left, the three fre!uencies of each unison will match almost
perfectly, "ut you will find that the sound "ecomes uninteresting% It sounds too ?clean@Y
it lac#s life% So, how should it "e tunedP There is no universal truth in such an aesthetic
matter% That is why Pianoteq, for the first time in a digital piano, lets you ad$ust the
unison tuning to your own tasteJ

&hen changing unison 6idth , you may also find it interesting to change the direct sound 
duration, reducing it if you have reduced unison 6idth  and vice versa% D"serve that the
closer the strings are to "eing in eact unison, the faster the direct sound will decay and
the slower the remanent sound will decay%

2nison tuning is not the only feature that affects tuning9 another !uestion is how
intervals, that is, the fre!uency ratio "etween two different notes, are tuned% The
tuning of all the intervals within an octave is called a temperament%

Dver the years, many different temperaments have evolved% The most commonly used
today is the e!ual temperament, in which all semitones are e!ual% owever, a few
hundred years ago, people used many other temperaments, some of which you can
choose in the temperament  menu% Try playing them% ;ou may find the difference not so
evident when playing single notes, "ut much more prominent when playing chords,
some of them having a nice consonant sound, whereas others having a !uite harsh
sound%

*+
1(%' Tutorial '9 voicing
The main o"$ective of piano voicing is setting the "rightness of the sound "y ad$usting
the hammer hardness% 5ifferent music may re!uire different voicing% The /oicin" panel
contains three hammer hardness sliders% Try first moving the me==o slider, which acts
on the hammer hardness around MI5I velocity +)% Moving it to the left, you will o"tain a
softer sound, whereas moving it to the right yields a "righter sound9

Normal settin" 5ri"ht settin"

Dnce you are familiar with these sound changes, you can try the other two sliders acting
at  piano level and  forte level respectively% ;ou may also want to eperiment with using
the hammer noise   parameter in con$unction with this hammer hardness setting% ;ou
can, for eample, set the hammer hardness to very soft, "ut increase the volume of the
hammer hitting the string using the hammer noise settin"%  In other words, reducing the
hardness of the hammer doesn.t mean that you have to lose the percussive sound of the
hammer as you reduce the "rightness of the sound% Dn the other hand, you may want to
have hard hammers to ma#e the tim"re "right, "ut at the same time reduce the volume
of the percussive #noc# of the hammer hitting the strings%

Another feature is timbre ad$ustment through the intensity of the individual overtones,

which can "e partially performed on a real piano "y shaping or needling the hammers%
 Try moving the overtone sliders one "y one in the spectrum profile , starting with
the first overtone, also called the fundamental%
 8periment "y increasing the eighth overtone "y 1* d=% A funny sound, isn.t itP
 Net, try some more glo"al shaping, raising or lowering, for eample, the first
three overtones9

>oicing is not independent from tuning, for shaping the sound during tuning can "e
considered as voicing% 5o you want to o"tain longer decayP Then you can9
 Act directly on tuning "y reducing the unison width in the Tunin" panel,
 Act indirectly on tuning "y increasing the direct sound duration,
 Act on design parameter "y increasing the sound"oard mechanical impedance in
the !esi"n panel%

*4
1(%(
1(%( Tut
Tutori
orial
al (9 sound"
sound"oar
oard
d design
design
Sound"oard impedance plays a crucial role in piano design% &hat is the sound"oard
mechanical impedance P &hen a periodic force is applied to the sound"oard, the wood
oscillates with a certain velocity at the same fre!uency as the applied force% The
sound"
sound"oar
oard
d im
imped
pedes
es 6re
6resis
sists7
ts7 wit
with
h its ine
inerti
rtia,
a, ela
elasti
stici
city
ty an
and
d res
resist
istanc
ance9
e9 thi
thiss is the
mechanical impedance,
impedance, which has a ratio of  force 8 velocit& %

Typically, a high impedance results in a long sound "ecause the energy is only slowly
transmitted from the strings to the sound"oard, and vice versa% igh impedance yields
long "ut wea# sounds whereas low impedance yields strong "ut short sounds% ence
piano
piano man
manufa
ufactu
cturer
rerss hav
have
e to fin
find
d a com
compro
promis
mise
e "et
"etwe
ween
en sou
sound
nd lev
level
el and sou
sound
nd
duration%

&ith Pianoteq%s solution, you are free to amplify the sound as much as you want% There
is no more compromise% ;ou can set the impedance, adapting it to the sound duration
that you want9

 The first
first slider,
slider, impedance, acts glo"ally on the impedance at all fre!uencies%
Moving it to the right will result in longer sounds and vice versa%

The mechanical impedance depends on the fre!uency% The impedance is usually !uite
high "elow a certain fre!uency called the cut3off frequenc& , a"ove which it drops down
with a slope called the ? factor 9 the rate at which impedance is reduced and thus the
rate at which the sound decreases in length% igher fre!uencies decay more rapidly than
lower fre!uencies% ence9
 Moving the second slider, cutoff , to the right will increase the cut0off fre!uency,
and thus increase the num"er of high overtones that are long%
 Moving the third slider, ? factor , to the right will increase the impedance slope,
and thus decrease the duration of the overtones a"ove the cut0off fre!uency%
Moving it to the left will instead allow these overtones to decay more slowly,
prolonging the initial "right sound $ust after the attac#%

8ample9 if you li#e emphasi3ing the sound of the strings, you can reduce the ? factor %
Alternatively, you can increase the impedance or the cutoff %

*-
1(%) Tuto
Tutorial
rial )9 adapti
adapting
ng <ianote!
<ianote! to
to your
your #ey"oard
#ey"oard
or demanding pianists, it is of utmost importance to adapt Pianoteq to the #ey"oard in
the "est possi"le way%

 &tep .7 If your #ey"oard has its own velocity settings, choose the one you li#e the
"est in general%

 &tep 07 2se the Hey

Hey"oa
"oard
rd cal
cali"r
i"rati
ation
on ass
assist
istant
ant "y cli
clic#i
c#ing
ng on the calibration
"utton "elow the velocity window and follow the instructions step "y step%

 &tep 7 If necessary, ma#e further ad$ustments of the velocity curve "y moving
the control nodes of the curve or adding new ones%

8urther adBust!ents
Some further ad$ustments can "e made that depend on the instrument you are playing9
 &tep 57 Select the dyna!is  that you want to use, typically "etween 'K d= and
+K d=d=%% Me
Meas
asur
urem
emen
ents
ts ma
made
de on acacou
ousti
sticc pi
pian
anos
os sh
show
ow a dy dyna
nami
micc ra
rang
nge
e of 
approimately *K d=% In piano recordings, due to compression
compression,, the dynamic range
is often much narrower% In Pianoteq, when changing dynamics, the  forte volume
remains constant while the lower amplitudes are raised or lowered%

 &tep 17  Choose the appropr

appropriate
iate ti!bre  when playi
playing
ng  piano, me==o forte and
 forte "y moving the corresponding sliders in the >oicing panel%

;ou are now ready to play% Note that steps ( to * can also "e used to adapt Pianoteq to
a given MI5I file in the
t he "est possi"le way%

*
1(%* Tuto
Tutorial
rial *9 differe
difference
nce "etween
"etween spectr
spectrum
um profile
profile
and e!uali3er
&hat is the difference "etween the spectrum profile 6see tutorial '7 and the e!uali3erP
Bet.s loo# at an eample% Dpen the /oicin" panel and set the first two spectrum "ars
respectively to Q+ d= and Q( d=9

&hat happens to the soundP All notes are modified9 for each note, the fundamental has
"een increased "y + d= and the second overtone "y ( d=% The piano sound has "ecome
glo"ally softer "ecause the higher overtones now have a lower amplitude relative to the
fundamental and the second overtone%

2sing several
2sing several undoBs, put the spectrum "ars "ac# to their original values, and now
ad$ust the e!uali3er curve, increasing it from K d= to 1K d= when going down from 'KK
3 to +' 39

&hat happens to the sound nowP

 or all notes with a fundamental
fundamental above 'KK 3, that is, a"ove ' 6the  $ust
"elow middle C7, nothin$ happens, "ecause their overtones are all a"ove 'KK 3,
where the e!uali3er is a straight hori3ontal line%
 or notes belo* ', the first overtones are modified according to the e!uali3er
curve% or eample, 1 whose fundamental is - 3 will have its fundamental
fre!ue
fre!uency
ncy inc
increa
reased
sed "y + d= d=,, wh
where
ereas
as the othother
er ov
overt
ertone
oness rem
remain
ain alm
almost
ost
unchanged 6"ecause they are a"ove 1+ 37%

The resulting piano sound will have more "ass, with an unchanged middle register and
tre"le notes%

+K
1) <ianote! <ro
Pianoteq Pro is the advanced version of Pianoteq% It includes the following additional
features9
 Note per note ad$ustment for physical parameters9 tuning, unison width, hammer
hardness, stri#e point, string length, spectrum profile, sound"oard impedance,
damper position%%% This note per note ad$ustment is availa"le in the Standard
version only for tuning and volume%
 Sample rates availa"le up to 1' #3 6limited to )- #3 in the Standard version7%
=e aware that a high sample rate will generate a massive increase of C<2 load%

1)%1 Note 8dit

The Note 2dit 6note per note ad$ustment7 of parameters is a very powerful tool that lets
you ad$ust the chosen parameter for each note%

+1
;ou access the Note 2dit window "y clic#ing on the Note 2dit  "utton or "y dou"le
clic#ing on an ?edita"le@ slider% ;ou can drag the Note 8dit window anywhere on your
screen and open several new windows, allowing you to wor# on several parameters at
the same time as you can see in the picture a"ove, where Unison 6idth   and !irect
sound duration  are "eing ad$usted%

D"serve the handles that let you perform some more glo"al changes on the curve% These
handles are located on specific control notes  that you can selectunselect "y a dou"le
clic# on the control rail  "elow the graphic% These control notes are shared "y all
parameters ecept the special case of the spectrum profile which is descri"ed in the
net section% or fine tuning, press the Shift #ey while moving a point of the curve%

Clic#ing outside a control note lets you modify any other note individually%

Convenient tools are provided that allow you to modify a given shape9 random. smooth
and  rescale% Clic# and drag the mouse around the "utton to vary the degree of the
effect 6see also the tips that are provided on the interface7% The reset "utton resets all
parameters to the saved settings of the preset 6contained in the fp file on the hard
drive7%

1)%' Spectrum profile

The Note 8dit of the Spectrum rofile wor#s a "it differently from the other
parameters, for you can ad$ust eah  overtone for eah  noteJ ;ou can access it "y a
dou"le clic# on any of the spectrum profile sliders%

Dvertones can "e modified individually, "ut also in different com"inations called
harmonic. comb. maor. octave %%% >arious draw modes named simple dra6 , haircut and
 fill onl&   are also provided% All these features are grouped in the same menu on the
right, la"elled simple dra6  at first access%

+'
The spectrum profile has its own set of control notes  that you can selectunselect "y a
dou"le clic# on the control rail  "elow the graphic% They are independent of the control
notes used "y the other parameters%

Dutside the control notes, the spectrum profile is linearly interpolated, and you can
o"serve the intermediate values "y clic#ing on the corresponding note on the control
rail%

1)%'%1 8ample 1
If you set a single control note and increase its third overtone "y + d=, all of the notes
will have their third overtone increased "y + d=9

&ith a single control note%%%

%%% all other notes are modified in the same way%

+(
1)%'%' 8ample '
ere W starting with a reset to clear everything W since we wanted only the middle C to
"e modified, we added ' control notes on each side to prevent the interpolation from
?propagating@ to the other notes9

&ith three consecutive control notes%%%

%%% you can alter only the middle note if you want to prevent your edit from spreading to
the notes a"ove or "elow it%

+)
1)%'%( 8ample (
In this last eample, we modified the middle C and the C "elow, and we o"serve how
the intermediate notes are interpolated9

<rofiling the middle C%%%

%%% and the C "elow %%%

%%% results in interpolated values for the  "etween%

+*
1* Appendi9 temperaments construction
MATLAB programs for some <ianote! "uilt0in temperaments-% Inputs are e!ual tempered
fre!uencies f 6which may "e stretched7 and corresponding MIDI num"ers%
%-------------------------------------------------------------------
function f = pythagore(f,MIDI)
%-------------------------------------------------------------------
delta = 3!!"(#$!)
ratio = delta&"'-3 - -$ - $ -* 3 -! -# + - !
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = 1arlino(f,MIDI)
%-------------------------------------------------------------------
ratio!2 = '$ !!*  3!!# * *3 *3! 3! !$ 3 $ $
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = /e6otonic(f,MIDI)
%-------------------------------------------------------------------
7 = "($*)
ratio!2 = '$ .7"3$ 7"!! *.7 * !7 .7"! 7 &&&
!$ 7"3! *.7"! .7*
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = 8ellte/pered(f,MIDI)
%-------------------------------------------------------------------
7 = /a9(real(root6('$ + + ! -))) a = ($!7")"($#)
ratio!2 = '$ a"!.7"$ 7"!! a"*.7"3! 7"** !a a.7" 7 &&&
a"3.7"$ 7"3! *a"! a.7"**
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)
%-------------------------------------------------------------------
function f = 8erc:(f,MIDI)
%-------------------------------------------------------------------
ratio!2 = '$ !!*3 $&$$#* 3!!# $&!! *3 $+!*#! $&** &&&
$!$ $&#+* $ $&#!
ratio = ratio!2&!&"((+4$$)$!)
ratio = ratioratio($+) % lea5ing A unchanged
f = f&.ratio(re/(MIDI,$!)0$)

-
Some of these temperament definitions derive from ?5er <iano und lgel"au, er"ert
unghanns, >erlag 5as Musi#instrument ran#furtMain, 14@

++
1+ Special ac#nowledgements
1+%1 Instrument providers
 Michel Armengot, rance 6electric piano C<0-K7
 <aul =adura0S#oda, Austria 6pianoforte &alter7
 :o"in =igwood, 2H 6harpsichords rimaldi, =lanchet7
 % =lthner <ianofortefa"ri# m", ermany 6=lthner Model Dne grand piano7
 Dlivier Cussac, rance 6:hodes MH1, &urlit3er 'KKA, Clavinet ohner 5+, Toy
<iano Michelsonne7
 <ascal aillard 6Steel 5rum7
 Buigi aggero, Italy 6Cim"alom =al_3s Hov_cs7
 Marc uilliou 6Spacedrum, and <and, Tan# 5rum7
 rotrian <iano Company m", ermany 6rotrian Concert :oyal grand piano7
 aendelhaus, ermany 6pianoforte Schmidt7
 Modartt SAS, rance 6Steinway =7
 Moni!ue Nie"isch, rance 6grand piano 8rard7
 Drchestre du Capitole de Toulouse, rance 6celesta, gloc#enspiel, marim"a,
ylophone7
 5aniel <arisot, rance 6Steinway 57
 ein3 <reiss, Hremsegg Schloss Museum, Austria 6clavichord9 Neupert%
<ianofortes9 Sch`ffstoss, Schant3, raf7
 Hlaus <% :ausch, ermany 68lectra0piano, <ianet T7

1+%' :ecording engineers

 Buc ilaretos 6Studio le raal, rance7
 Baurent Minh 6in#go, rance7
 erwig <reiss 6Austria7

&arm than#s to our "eta testers, who helped us greatly in improving our instruments%
&ithout their intensive participation, their constructive criticism and enlightening
advice, Pianoteq wouldn.t have "ecome the en$oya"le instrument which you are
playing%

Many than#s also to our customers and distri"utors for their support and all others who
supply us with valua"le opinions and ideas%

+4
,o!pany
MD5A:TT is a company that develops and provides software, hardware and consulting
services for artistic and technological applications% MD5A:TT also supports the HI>i:
pro$ect 6Hey"oard Instruments >irtual :estoration7, offering digital restoration of 
historical #ey"oard music instruments in museums% <lease visit our we"site
www%pianote!%com  for further details%

Authors
 <ianote!9 <hilippe 2IBBA2M8 and ulien <DMMI8:
 Artwor#9 :ichard =A:AC8TTI and uillaume DB;
 2ser Interface9 uillaume DB;
 Manual9 Niclas D&ABB and <hilippe 2IBBA2M8
 8diting and proofreading9 regg DNSDN

Intelletual property
 <ianote! is a trademar# of MD5A:TT S%A%S%, 1K, avenue de l.8urope, (1*'K :amonville Saint Agne, rance%

 <atent9 2S 4,1*,*1* =', 8urope K4%-'('-)%K'K)4)**, apan *'+1(-*, China bB'KK4-KK''4K(%'%

 Cu"ase, ASID, and >ST are trademar# of Stein"erg Media Technologies m"

 The Audio 2nits logo is a trademar# of Apple Computer, Inc%

 T<ACH v)% Copyright 6c7 'KK) the 2niversity Corporation for Atmospheric :esearch 6U2CA:U7% All rights
reserved% 5eveloped "y NCA:s Computational and Information Systems Ba"oratory, 2CA:,
www%cisl%ucar%edu%
:edistri"ution and use of the Software in source and "inary forms, with or without modification, is
permitted provided that the following conditions are met9
0 Neither the names of NCA:s Computational and Information Systems Ba"oratory, the 2niversity
Corporation for Atmospheric :esearch, nor the names of its sponsors or contri"utors may "e used to endorse
or promote products derived from this Software without specific prior written permission%
0 :edistri"utions of source code must retain the a"ove copyright notices, this list of conditions, and the
disclaimer "elow%
0 :edistri"utions in "inary form must reproduce the a"ove copyright notice, this list of conditions, and the
disclaimer "elow in the documentation andor other materials provided with the distri"ution%
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+-