MODARTT

presents
PIANOTEQ 6

1
 Welcome

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

new generation of pianos, developed from mathematical research
made at the Institute of Mathematics of Toulouse at INSA Toulouse,
France, and offering unique possibilities to make the piano behave
and sound just the way you like.

For support issues and latest news about our products, please visit
our website at www.pianoteq.com. If you have any questions or
comment, let us know. We always listen to our customers.

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 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................................................................................................................10

2 Installing and starting Pianoteq.................................................................................11
2.1 Installation for Windows...................................................................................................11

2.2 Installation for Mac OS X...................................................................................................12

2.3 Using Pianoteq standalone................................................................................................12

2.4 Using the VST/VST3/AU/AAX plug-in.................................................................................12

2.5 Hardware requirements....................................................................................................12

2.6 Adapt Pianoteq to your hardware.....................................................................................12

2.7 Quickly loading fxp, ptq and MIDI files..............................................................................13

2.8 MIDI file player (standalone 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 MIDI file...........................................................................................................15

2.9 Interface magnification......................................................................................................15

3 Overview, instruments...............................................................................................16
3.1 Instruments.......................................................................................................................17
3.1.1 Acoustic pianos and predecessors...................................................................................................17
3.1.2 KIViR collection.................................................................................................................................19
3.1.3 Keyboard range................................................................................................................................19
3.1.4 Harp..................................................................................................................................................20
3.1.5 Electric pianos...................................................................................................................................21
3.1.6 Hohner Collection.............................................................................................................................22
3.1.7 Vibraphones......................................................................................................................................22
3.1.8 Xylophone and Marimba..................................................................................................................22
3.1.9 Toy piano, Celesta, and Glockenspiel...............................................................................................22
3.1.10 Steelpans........................................................................................................................................22
3.1.11 Other instruments..........................................................................................................................23

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 3.2 Managing instruments and presets...................................................................................23
3.2.1 Difference between “instrument” and “preset”..............................................................................24
3.2.2 Instrument modifications.................................................................................................................24

3.3 Hints..................................................................................................................................24
3.3.1 Creating your own instrument.........................................................................................................24
3.3.2 Brilliance...........................................................................................................................................25
3.3.3 Using reverberation..........................................................................................................................25

3.4 General commands............................................................................................................25

3.4.1 Playing with the parameters............................................................................................................25
3.4.2 Managing and sorting presets..........................................................................................................26
3.4.3 Assigning a parameter to a MIDI controller.....................................................................................28
3.4.4 Instrument controls..........................................................................................................................29

4 Tuning panel..............................................................................................................31
4.1 Diapason............................................................................................................................31

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

4.3 Unison tuning....................................................................................................................32

4.4 Octave stretching...............................................................................................................33

4.5 Direct sound duration........................................................................................................34

5 Voicing panel (acoustic).............................................................................................35
5.1 Hammer hardness.............................................................................................................35

5.2 Spectrum profile................................................................................................................35

5.3 Hammer noise...................................................................................................................36

5.4 Strike point........................................................................................................................36

5.5 Soft pedal..........................................................................................................................36

6 Voicing panel (electro-acoustic)..................................................................................37
6.1 Pickup symmetry...............................................................................................................37

6.2 Pickup distance..................................................................................................................37

7 Voicing panel (clavinet)..............................................................................................38
8 Design panel (acoustic)..............................................................................................39
8.1 Soundboard.......................................................................................................................39

8.2 String length......................................................................................................................39

8.3 Sympathetic resonance.....................................................................................................40

8.4 Duplex scale.......................................................................................................................40

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 8.5 Blooming...........................................................................................................................40
9 Design panel (electro-acoustic)...................................................................................41
10 Velocity panel..........................................................................................................42
11 Output panel............................................................................................................43
11.1 Pedals..............................................................................................................................44

11.2 A sound radiation physical model....................................................................................46

11.3 Sound recording mode.....................................................................................................46

11.3.1 Microphones and microphones techniques...................................................................................47
11.3.2 Mix table.........................................................................................................................................49
11.3.3 Compensation................................................................................................................................50
11.3.4 Stereo width and sound speed.......................................................................................................50
11.3.5 Lid position.....................................................................................................................................50
11.3.6 Binaural mode................................................................................................................................51
11.3.7 About the microphones position....................................................................................................51

12 From action to effects...............................................................................................52

12.1 Action..............................................................................................................................52

12.2 Mallet bounce..................................................................................................................52

12.3 Equalizer..........................................................................................................................53

12.4 Effects..............................................................................................................................53

12.5 Reverberation..................................................................................................................56
13 Practice....................................................................................................................57
13.1 Tutorial 1: tuning.............................................................................................................57

13.2 Tutorial 2: voicing............................................................................................................58

13.3 Tutorial 3: soundboard design.........................................................................................59

13.4 Tutorial 4: adapting Pianoteq to your keyboard..............................................................60

13.5 Tutorial 5: difference between spectrum profile and equalizer.......................................61

14 Pianoteq Pro............................................................................................................62
14.1 Note Edit..........................................................................................................................62

14.2 Spectrum profile..............................................................................................................63

14.2.1 Example 1.......................................................................................................................................64
14.2.2 Example 2.......................................................................................................................................65
14.2.3 Example 3.......................................................................................................................................66

15 Appendix: temperaments construction.....................................................................67

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16 Special acknowledgements.......................................................................................68
16.1 Instrument providers.......................................................................................................68

16.2 Recording engineers........................................................................................................68

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1 Introduction
1.1 The fourth generation of pianos

The first generation of pianos, starting in 1698 with Cristofori’s pianoforte, came to
maturity at the end of the XIX century with the acoustic grand concert piano. It was
followed in the XX century by electro-acoustic pianos, and then by digital sampled
pianos. Now, at the beginning of the XXI century, Pianoteq is the first instrument of the
fourth generation of pianos, based on physical modelling and offering extraordinary
playability and expressiveness.

With Pianoteq, you can adapt the piano sound to your own taste. Unique parameters
that model the behaviour of real pianos result in great realism, until now only to be
experienced on real acoustic pianos.

Using 32-bit internal computation, the calculated piano sound is free from quantization
noise. True dynamic timbre results, from the faintest pianissimo to the strongest
fortissimo, for all 127 standard MIDI velocities (and even more with high resolution
MIDI).

Everything that characterizes a real piano is there: the mechanical noises, the complex
sound of pedals and strings in interaction, the percussive impact on staccato play (short
notes), and of course, most importantly, the beauty of the piano sound.

The second generation brought innovative sounds (such as the Fender Rhodes, Wurlitzer,
Yamaha CP, and others), whereas the third generation only reproduced recorded
samples. Based on an effective physical model, Pianoteq allows you to adjust and
stretch parameters, resulting in new sounds and performance styles. Pianoteq is both a
way to emulate existing pianos and an innovative tool for music creation.

Pianoteq is in fact the first virtual piano factory: it can produce new brands as well as
copies of existing instruments, from historical instruments such as harpsichords and
pianofortes to contemporary grand pianos or the more recent electro-acoustic pianos.

Other instruments of the idiophones family are regularly added to the Pianoteq
collection. Visit our website www.pianoteq.com and discover our latest creations.

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1.2 What makes Pianoteq outstanding

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

breakthrough technology based on physical modelling, which is foreseen as the
technology of the future. Notes are really played (“constructed” in real-time, as
on a real piano), not just read from the disk or the memory. This explains why
the sound is alive, not static: it is not a simple recording, it is a genuine
instrument that responds to the pianist’s finest interpretation.

 It has been developed in the prestigious Institute of Mathematics of Toulouse, at

the Institut National des Sciences Appliquées in Toulouse, France. Two specialists
from this laboratory have been working hard to create this beautiful instrument.
Conception of the physical model is from Philippe GUILLAUME, piano tuner,
musician, and mathematician whose “Grail” is finding the equations for the
“piano soul.” Implementation is from Julien POMMIER, engineer and
mathematician, who implemented the physical model to work in real time.

 It is light: it does not require storing huge data involving a whole collection of
DVD’s, since it only needs an up-to-date CPU for computing all sounds in real
time. It loads easily into RAM, and installation is instantaneous. No problem using
it on a modern laptop.

 It can handle ultra low latencies with good audio drivers on a recent CPU.

 It offers a beautiful collection of stunningly alive instruments: pianos, pianoforte,

piano precursors such as cimbalom, clavichord and harpsichord, electro-acoustic
and electric pianos, chromatic percussions and other instruments from the
idiophones family.

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1.3 Pianoteq versions

Pianoteq is available in three versions:

 PIANOTEQ STAGE is for musicians who want to plug it in and play without
tweaking the physical model. It includes standard features such as velocity curve,
dynamics, action settings, EQ, tremolo, wah-wah, chorus, flanger, phaser,
compressor and other effects.
 PIANOTEQ STANDARD offers in addition powerful tools to tweak and adapt the
physical model, as well as the positions of the microphones.
 PIANOTEQ PRO goes even further. Its Note Edit feature allows those who require
complete freedom in note shaping to edit the parameters note-by-note.

All versions offer the same sound, instruments and playability but differ in the range of
features and settings. The table below summarizes the main differences between the
three versions.

PIANOTEQ PIANOTEQ PIANOTEQ

STAGE STANDARD PRO
Includes two instrument packs [1]   
KIViR instruments (free)   
Preset (fxp) loading [2]   
Audio effects   
Piano model tweaking  
Microphones setting  
Loads external reverb impulses  
Note Edit (note-by-note editing) [3] 
Internal computation up to 192 kHz 

[1] Optional instruments are sold separately and can be loaded in any Pianoteq version.
[2] In PIANOTEQ STAGE, preset loading is limited to parameters that are present in the
interface. Presets built with PIANOTEQ PRO can be loaded in PIANOTEQ STANDARD
without any limitations.
[3] In PIANOTEQ STANDARD, Note-per-note edit is available for tune and volume.

This manual describes the general features that can be found in Pianoteq. Depending on
your version, some of them may or may not be present.

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1.4 Features in short
Pianoteq is equipped with all of the features you could dream of:
 Continuous velocity from pianissimo to fortissimo, with progressive variation of
the timbre: that makes at least 127 velocities! A sample-based software program
would require hundreds of gigabytes for all these velocities
 Complex resonances that only a model can reproduce in all its richness:
o Sympathetic resonances of all strings, both without and with sustain pedal
o Duplex scale (the undamped string parts which come into resonance)
o Damper position effect when key is released (variable overtones damping)
o Other specific effects like staccato and sound continuation when pressing
down the sustain pedal a short time after key release (re-pedalling)
 Extended key range to 105 keys for some grand pianos (Steinway Model D, K2)
 Timbre modification of repeated notes, due to the hammer striking strings which
are already in motion instead of being still
 Polyphonic Aftertouch (particularly interesting for the clavichord)
 Four pedals (other assignements are possible, see chapter 11):
o Progressive sustain pedal allowing the so-called “partial pedals” 1
o Sostenuto pedal, allowing you to hold some notes after release without
pressing down the sustain pedal
o Harmonic pedal, allowing you to play staccato while maintaining the
sustain pedal resonance (not available on acoustic pianos)
o Una corda pedal, also called the soft pedal, modifying the sound quality
or timbre by shifting the piano action to the right (on grand pianos)
 Variable lid position
 Natural instrument noises (sampled or modelled) including action key release
noise, damper noise at key release (bass notes) and sustain pedal noise: pedal
velocity dependent “whoosh” produced by the dampers rising together from the
strings or falling down
 Microphone positioning and multichannel mixing (up to 5 mics, 5 channels)
 Microtuning and scala format files import
 Keyboard, pedal and note-off velocity settings
 Sound control via equalizer and (volume) dynamics
 Built-in convolution reverberation, allowing you to import WAV impulses
 Standard effects including delay, chorus, flanger, phaser, tremolo, wah-wah,
amplifier and a compressor
 Original hammer bouncing feature, interesting for chromatic percussions
(marimba, xylophone, cimbalom…)
 Instrument condition control, from freshly-tuned to completely worn-out.

1
If your piano supports a fine enough MIDI progression (up to 127 values) for the sustain pedal.

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2 Installing and starting Pianoteq
Pianoteq works on computers equipped with Windows, Mac OS X or Linux. You can use
Pianoteq in standalone mode or as a plug-in instrument in a VST, VST3, Audio Units or
AAX host. Pianoteq runs in both 32-bit and 64-bit mode. We recommend visiting
www.pianoteq.com where you will find the latest information, a detailed FAQ page and
a tutorial on how to connect your hardware.

2.1 Installation for Windows

Execute the installation program file pianoteq_setup.exe. Activation is required when
launching Pianoteq for the first time. Just follow the on-screen instructions. ASIO
drivers are necessary for obtaining a low latency. If using a soundcard that is not
distributed with its own ASIO drivers, you can download ASIO drivers at
www.asio4all.com.

Optimization
If you experience pops and cracks when playing, watch the audio load and CPU
frequency in Options ► Perf:

Red bars in the graphic indicate an overload. In that case, look at the displayed CPU
frequency. If this frequency varies or stays below the normal frequency of your CPU, it
comes from the Power Management setting of your computer which should be set to
“High Performance”.

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2.2 Installation for Mac OS X
Click on the Pianoteq package and follow the instructions. Activation is required when
launching Pianoteq for the first time. Just follow the on-screen instructions.

2.3 Using Pianoteq standalone

Using Pianoteq standalone is very simple. Launch Pianoteq and specify your audio and
MIDI Devices settings in the dialogue box: you are ready to play.

2.4 Using the VST/VST3/AU/AAX plug-in

Pianoteq can be loaded by any VST, VST3, Audio Units or AAX host. You will need to
specify, inside the host, your MIDI device and the driver you are using.

Warning
Most hosts save your modifications and reload them when you restart. If you hear some
strange sounds, make sure that all parameters are at their default values. Check, for
example, whether the velocity and equalizer curves are correctly defined.

2.5 Hardware requirements

Pianoteq can be used with any MIDI compatible keyboard. We recommend a touch
sensitive keyboard, such as one with full weighted keys simulating the hammer response
of a real piano. See tutorial section 13.4 for adapting Pianoteq to your keyboard in the
best way. For partial pedalling, a progressive sustain pedal is required.

The requirements for using Pianoteq successfully are:

 Recent CPU (dual/quad core recommended)
 512 MB RAM
 ASIO compatible sound card and drivers (concerns Windows users only)
 Internet connection (however installation on a computer that is not connected to
the internet is possible. See our FAQ at http://www.pianoteq.com/faq)
 Windows 7 or later, Mac OS X 10.7 or later, Linux (x86 and ARM).

2.6 Adapt Pianoteq to your hardware

When you click on the Options button, a window containing the following sections
appears:

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The Devices section (in standalone mode only) lets you select your keyboard, audio
device and related driver (Audio device type), output channels, sample rate and audio
buffer size.

In the MIDI section you can:

 Assign MIDI controllers to Pianoteq parameters (experienced users only ― may
produce unexpected sounds with MIDI files containing special instructions)
 Unassign all controllers except pedals and Pitch Bend by choosing Current MIDI
Mapping: Minimalistic (recommended for starting)
 Transpose notes by up to 3 octaves.

Pianoteq computes all notes dynamically (that is, in real time). Thus a modern CPU is
required. Bass notes contain more overtones and thus require more computations. The
Perf section allows you to select from among the following features:
 Multicore rendering. You should usually enable this feature.
 CPU overload detection. Under certain circumstances (a slow CPU, very fast
music), the CPU may be overloaded by the number of required computations.
CPU overload detection might be useful for real time processing, for example
when 10 seconds of sound require 12 seconds of CPU computations. Some
computations are then bypassed.
 Internal Sample Rate affects the internal sampling rate of Pianoteq. A lower
frequency requires less computation. Thus the lower the capacity of your CPU,
the lower you should set this sample rate.
 The Polyphony is the number of individual sounds (notes, sympathetic
resonances…) that are played simultaneously. The lower the capacity of your
CPU, the lower you should set the polyphony. Alternatively, you can choose Auto
(Pessimistic or Optimistic) for an automatic polyphony setup.

2.7 Quickly loading fxp, ptq and MIDI files

You can load fxp and ptq files (and MIDI files with the standalone version) quickly by
dragging each file at a time, from the file manager, email client or web browser, onto
the Pianoteq interface.

2.8 MIDI file player (standalone version)

The Pianoteq standalone version is equipped with a MIDI player that lets you play and
record MIDI files. You can load several MIDI files via File ► Load MIDI file and even
create your own MIDI Playlist via File ► Manage MIDI Playlist.

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2.8.1 Playback speed
You can adjust the playback speed by clicking on x1 (“times 1”). A menu will appear
where you can choose another value or enter any value between 0.1 and 10.
Alternatively, click on x1 and drag the mouse to get the value you want.

2.8.2 Record and Save your performance

Click on the record button to start recording your performance live.
Save your MIDI file by opening the File menu. There you can also export your recording
to a WAV, FLAC or MP3 audio file.

2.8.3 Brilliant performance lost?

At any time, you can retrieve your recent performances via File ► Recently played on
the keyboard. Particularly useful when after a brilliant performance you think “too bad I
didn’t record this”! Well, Pianoteq did it for you: just load the latest Recently played
on the keyboard and save/export it to a regular MIDI/AUDIO file. It’s as simple as that!

For less recent performances, a MIDI Archiver is available, acces to its settings at the
bottom of the Recently played on the keyboard menu.

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2.8.4 Step by step in your MIDI file
In the standalone version, for exploring your MIDI file step by step, forwards or
backwards, use the computer keyboard right or left arrows to play single notes or
chords.

2.9 Interface magnification

The Pianoteq interface is resizable, making it comfortable to work with any display size.
Click on Options ► General and select the size in the Interface magnification menu, or
simply use the handy keyboard shortcuts +/-:

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3 Overview, instruments
We come now to a brief overview of Pianoteq. Its interface is divided into two sections:

 An Instrument section containing innovative features presented in three panels

called Tuning, Voicing, and Design. Each panel opens with a single click.

The three Instrument section panels

 An Audio Engineering section, which offers you a unique feature available

through the Output menu: microphones positioning and mixing. The section also
offers features like velocity curve, volume, dynamics, action and mallet settings,
equalizer, reverberation, chorus, flanger, phaser, compressor and other effects.

The Audio Engineering section

Adjusting any of the parameters is easy. But you can also simply choose your instrument
from the instrument menu on the top left.

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3.1 Instruments
Pianoteq instruments are based 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.
You can download additional free instruments from the user area at www.pianoteq.com.

3.1.1 Acoustic pianos and predecessors

Steinway Model D grand piano

Authorized by Steinway & Sons, the Steinway Model D grand
piano is a virtual copy of a Steinway D from Hamburg, famous
for its exquisite musical expression and being featured in
numerous prominent recording studios and concert halls
worldwide. Each note has been carefully adjusted in its finest
detail, just like in a real factory. The result is a stunningly vivid
instrument created with the most demanding musician in mind.

Steinway Model B grand piano

Authorized by Steinway & Sons, the Steinway Model B grand
piano was carefully designed to reproduce the finest sound
characteristics of a Steinway B instrument which was selected
by Modartt for this project. This model is based on the Martha
Argerich edition, and is one of the twenty-five Steinway & Sons
Model B-211 grand pianos that the prestigious pianist carefully
chose in 2014 for their musicality. She signed each.

Grotrian Concert Royal grand piano

In cooperation with Grotrian, Modartt has developed an
accurate physical model of Grotrian Concert Royal grand piano,
rightly considered to be one of the best grand pianos in the
world. In order to reproduce the characteristic clarity and
warmth of the original instrument, every detail of the Pianoteq
model ahs been fine-tuned, resulting in an authentic and joyful
instrument. The beautiful timbre and complex resonances are
breathtaking.

Blüthner Model 1 grand piano

In cooperation with Blüthner, Modartt has developed an
accurate physical model of Blüthner Model 1 grand piano for
Pianoteq. A unique feature in Blüthner’s grand pianos is the

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fourth string for each key in the treble, called the Aliquot system. Its purpose is to
create a sympathetic vibrating string that enhances the tone. This feature is included in
the Pianoteq Blüthner model.

K2 grand piano
The grand piano K2, which was created for Pianoteq 5, has
evolved by combining the best elements of several models. Its
211 cm (6' 11") cabinet offers the magnificent sound that comes
from a perfect balance between warmth and brilliance.

YC5 Rock grand piano

The YC5 Rock piano adds a lot of bite to your pop/rock
recording, and fits beautifully in a mix with drums and electric
instruments. Its characteristic bright timbre is also adapted for
expressive playing and suitable for jazz recording sessions. YC5
is modelled from a well known Japanese grand piano,
frequently seen on stages and widely appreciated by touring
artists for its musical qualities and reliability. It is also a
popular instrument at conservatories and other music schools.

U4 upright piano
The U4 upright piano offers 21 exciting presets emphasizing
the characteristics of upright pianos. Besides the beautiful
timbre of well-built acoustic pianos, there is higher
inharmonicity and increased imperfections in presets such as
Blues, Honky Tonk, Vintage, Detuned, Ruined, Bierkeller,
Tacky, Wavy, Weathered, Club...

Kremsegg Collection
This collection of beautiful historical pianos, ranging from the
18th Century to the late 19th Century, has been created in
collaboration with Kremsegg Schloss Museum (Austria). It
includes virtual copies of pianofortes J. Dohnal (1795), J.
Broadwood (1796), and grand pianos I. Besendorfer (1829), I.
Pleyel (1835), J. Frenzel (1841), S. Erard (1849), J.B.
Streicher (1852), C. Bechstein (1899). Incomparable for
rendering the music of the Classical period, these instruments can also be used for more
recent compositions. The late-19th Century pianos, particularly, with a design
approaching that of a modern piano, illuminate jazz and other modern music.

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 Hans Ruckers harpsichord
The physical model is based on a copy by Matthias Griewisch of
a Hans Ruckers II le Jeune harpsichord (1624). This virtual
instrument offers an extension of the original instrument, from
4½ to 6½ octaves, and is equipped with three registers — lower
8', upper 8', and 4', which can be combined in ways not even
possible in the real world (see the L8', U8' and 4' buttons above
the interface keyboard). A local MIDI mapping allows you to change the registration
directly via the 3 lower notes of your keyboard. Besides sustain and soft pedals, this
harpsichord is equipped with a Buff stop pedal and a Rattle pedal (cf. Section 11.1).

3.1.2 KIViR collection

This collection is the result of the Keyboard Instrument Virtual
Restoration project. It can be downloaded from our website at
www.pianoteq.com. It includes the free instruments
clavichord, cimbalom, harpsichords, pianofortes and acoustic
and electro-acoustic pianos. Some of them are presented in
their current state. Their age has caused imperfections, such as
some voicing irregularities, which we have kept intact. We
regularly enrich this collection with new instruments.

3.1.3 Keyboard range

Keyboard range extension

The grand pianos Steinway Model D and K2 benefit from an unprecedented keyboard
range extension from 88 to 105 notes (8⅔ octaves):

Original/extended range
Most historical instruments included in the KIViR collection have a reduced range. For
some of them, it was possible to extend this range slightly. The extended range has
been set to the default range. If for some reason you want to use the original range (as
for example using the original sympathetic resonances range), just click on the minus

19
sign to the left of the virtual keyboard. Clicking on the plus sign will allow you later to
come back to the extended range.

3.1.4 Harp
The Harp pack offers a concert harp, physically modelled after a
Salvi concert grand harp.The concert harp for Pianoteq includes
the ability to play pinch harmonics (flageolets) and glissandos.
Moreover, a diatonic playing mode was designed to offer closer
experience to the reality of the instrument where seven pedals
allow to change the pitch of the strings and play in all keys.

Chromatic versus diatonic mode

By default, the keyboard is set to chromatic mode (except for the diatonic harp preset):

If you click on the little D to the left of the keyboard, you enter the diatonic mode
where only white keys produce a sound. As in a real concert harp, the key signature is
specified by seven pedals, from left to right D, C, B, E, F, G, A, each pedal being
controlled by a group of three black keys:

For example, clicking on left black key below E will produce an E ♭ alteration whereas
clicking on the right black key will produce an E# alteration.

Clicking on the little C to the left of the keyboard brings you back to chromatic mode.

Warning: if you play a MIDI file in diatonic mode, each black key encountered in the MIDI
file will produce the relative change of the key signature... you might be surprised!

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 3.1.5 Electric pianos
The Electric pianos pack offers three amazing electro-acoustic
pianos from the seventies. Each Electric Piano (Vintage Tines
MKI, Vintage Tines MKII and Vintage Reeds W1) is provided with
several variants. Using the rich interface features, you can
customize them to your own taste.

3.1.6 Hohner Collection

The Hohner2 Collection, authorized by Hohner, includes four
famous instruments manufactured from the early sixties until
the early eighties: Electra-piano, Pianet N, Pianet T and
Clavinet D6. The virtual copies for Pianoteq benefit from its
physical modelling: addition of a sustain pedal, range extended
to seven octaves and possibility to adjust physical properties.

3.1.7 Vibraphones
The Vibes pack offers two beautiful vibraphones. V-M is a virtual
copy of a Musser vibraphone that belongs to the famous French
vibraphonist Dany Doriz. V-B is a virtual copy of a Bergerault
vibraphone that belongs to the Condorcet studio in Toulouse
(France). The bars are made of metal.

3.1.8 Xylophone and Marimba

The Xylo pack includes a xylophone and a marimba. The
xylophone virtual copy is modelled after a modern 3½-octave
French brand and the marimba virtual copy is modelled after a
modern five-octave French brand. In contrast with the
vibraphone, the bars are made of wood instead of metal.

3.1.9 Toy piano, Celesta, and Glockenspiel

The Celeste pack includes a toy piano, a celesta and a
glockenspiel. The sound of the toy piano is produced by small
hammers striking metal rods. The virtual toy piano is modelled
after a two octaves Michelsonne instrument and is extened to 4
octaves. The celesta resembles an acoustic upright piano but

2
Hohner is a registered trademark of Matth. Hohner GmbH

21
houses metal plates struck by felt hammers resembling piano hammers. The virtual
celesta is modelled after a modern five-octave German brand. The glockenspiel also has
metal plates but they are struck by hard metal mallets held by the musician. The virtual
glockenspiel, modelled after a modern French brand, has been extended to cover four
octaves.

3.1.10 Steelpans
The Pianoteq physical model has been enriched to produce the
characteristic timbre of steelpans, with their "blooming"
overtones that are due to the mechanical properties of thin
steel sheets. Steel drums were originally built from empty oil
barrels as the popular drums were forbidden by the Trinidad
government.

The Steelpans pack includes 4 instruments: Steel Drum, Spacedrum, Hand Pan and Tank
Drum. Each instrument is provided with one preset faithful to the original instrument
modelled and several variants.

The Steel Drum instrument is a combination of the known types, the "double second",
the "tenor", the "double guitar", the "triple cello", and covers 4 octaves.

The Spacedrum is a recent variant of the Hand Pan. Both instruments offer presets for
hand playing and mallet playing, and are extended to 4 octaves. The blooming effect is
a bit less pronounced than in the Steel Drum.

The Tank drum is made of thicker metal from a gas tank. Several tongues are cut into
the bottom of the tank for producing the notes. Due to its shape and thickness, there is
almost no blooming effect. The instrument is extended to 3½ octaves.

3.1.11 Other instruments

Other instruments such as church bells and tubular bells, are available for download on
our website at www.pianoteq.com. Subscribe to our newsletter for the latest
information.

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3.2 Managing instruments and presets
You can load and save instruments from the instruments menu:

This menu lets you choose from a list of built-in instruments and presets, extra
instruments (files with extension .ptq) or presets (extension .fxp) that you have saved in
your Pianoteq folders. More details are provided in section 3.4.2.

3.2.1 Difference between “instrument” and “preset”

The physical model contains a great number of parameters, but only a small proportion
of them are available through the user interface. When only the user interface
parameters are changed, then we say that it is still the same instrument but a different
preset. Hence presets are understood as variations of a given instrument.

For example, Steinway Model D Prelude and Steinway Model D Classical are the same
instrument, as the difference lies in the microphone position which can be defined by
the user himself. On the contrary, Steinway Model D Prelude and K2 Prelude are two
different instruments because it is impossible to obtain one of them by modifying the
user interface parameters of the other.

3.2.2 Instrument modifications

You can change any parameter of the current instrument or preset by moving the
corresponding slider with the mouse. Moving the mouse cursor perpendicularly to the
slider will make the slider move slowly.

Each time you modify parameters in Pianoteq, a few computations are needed to
update the instrument (physical model).

Once you are done, the edit and save buttons to the right of the instruments menu
allow you to edit and save your new preset.

Also have fun trying the Random button, which changes all settings randomly!

23
3.3 Hints
3.3.1 Creating your own instrument
Generally speaking, you will find it more interesting to make adjustments, large and
small, in several parameters instead of making a single large adjustment. Moving a
single slider to the left may throw the weight of the sound onto other parameters that
you may want to adjust. Moving a slider to the far right may obscure the contribution
other parameters make to the sound, or make their small contribution seem too strong.
Moreover, the parameters that interact may be in separate panels, since each panel has
controls that modify the way in which a single physical component of a piano
contributes to the sound, instead of controlling the sound in general. This manual often
touches on these adjustments. Further experimentation will let you experience the ways
in which the parameters interact. Make a small adjustment in one parameter and a large
one in another. Make large and small adjustments everywhere. You can create almost
any sound that a piano can create, and more.

3.3.2 Brilliance
Brilliance is an important sound quality for achieving good realism. You may want to
adjust it whether you are staying close to the loudspeakers, or listening at low volume
levels, or using headphones. You can for example change the hammer hardness from the
Voicing panel, or use the EQ from the lower panel.

The keyboard velocity itself plays a crucial role in the sense of brilliance. Visit the
Pianoteq user forum http://www.forum-pianoteq.com/ where users provide velocity
curves for many types of keyboards. See also the tutorial in section 13.4.

3.3.3 Using reverberation

Listening through loudspeakers usually requires significantly less reverberation than
through headphones. The reason is simple: when using loudspeakers, the sound is
naturally reverberated by the room in which they sit. We thus recommend that you
reduce the reverberation mix when using loudspeakers.

Moreover, it is worth mentioning that bypassing reverberation in Pianoteq does not have
the same effect as bypassing reverberation in a sample-based instrument. In the latter
case, unless recording was made in an anechoic chamber, there is a natural
reverberation present in the recorded samples which may not be perceived as
reverberation because the note release cuts the reverb tail itself, whereas in Pianoteq,
there is no reverberation whatsoever when you switch it off. In that case, the sound
loses an important part of its natural quality and may sound strange or synthetic,
particularly with headphones, because in the real world we never hear sounds without
some reverberation. Hence, we recommend bypassing reverberation only when using an
external — or natural — reverberation.

24
3.4 General commands
3.4.1 Playing 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 (pen) and save buttons allow you to edit and save your new preset.

 The freeze checkbox allows you to select the parameters that you want to keep
unchanged when changing instrument or preset. This is a very convenient feature
for “transporting” settings from one instrument to another.

 The random command allows you to randomly change tuning, voicing, and design
parameters. Parameters located in the Audio Engineering section are not
affected by the random command.

 Using the undo/redo commands, you can at any time undo and redo the changes
you have made: up to 100 undos are possible. A right click on the button shows
you the last modification.

 The AB button allows you to switch between two presets A and B, one being in
the foreground while the other is in the background. The led beside them is lit as
soon as A and B are different. Clicking on the led copies the foreground preset
into the background preset. A right click on the AB button lists the differences
between A and B. A and B presets have their own undo/redo stack.

25
3.4.2 Managing and sorting presets
When you click on the edit button, the following presets manager appears:

It lets you manage the instruments and presets from the instruments menu. You can edit
the presets information, sort or filter them (see some part of them), rename them, etc.

Edit
Information on each preset is displayed at the bottom of the presets manager, as well as
a small demo excerpt (mini-player to the left of the edit button). There you can edit
the information related to your own presets, and record yourself your own demo excerpt
(left and right clicks on the mini-player).

Sorting
The way presets are sorted can be chosen by clicking in the appropriate column: Preset
name, Instrument or Bank.

26
A bank is a set of presets that are located in a given folder, except the factory bank
which contains all built-in instruments and extra instruments provided as ptq files and
located in the Addons folder.

Filtering
You can select the instruments and presets that are visible in the instruments menu
through three different “filters” located on the right side of managing window: search,
All instruments, All banks. You can also click on individual instruments or banks.

Renaming presets
A double click on a user preset name allows you to rename it. You can also open the
contextual menu by clicking on the small arrows in the MIDI column.

The Pianoteq folders

The easiest way to find the Pianoteq folders is to click on the little folder images to the
right of All instruments and All banks. The Pianoteq folder contains two sub-folders:
 Addons: this is where to store the extra instruments provided as ptq files,
 Presets: this is where to store the user defined banks. Each bank is itself a folder
that contains presets with fxp file format.

Importing fxp files

There are two ways of importing fxp files:
 Drag and drop the file into the interface,
 Copy the file into the appropriate folder.

Saving presets
After you have created your new preset, you can save it by simply clicking on the save
button; a popup window will ask you for a preset name and a bank name (default bank is
My Presets). Each time you click again on the save button, you will save the new values
with the same preset name. You can access backup copies with a right click on the
preset name (if there are some).

27
3.4.3 Assigning a parameter to a MIDI controller
You can assign Pianoteq parameters to MIDI controllers such as those that may be on
your keyboard. Select the parameter slider that you want to assign (right click on the
slider and click on MIDI ► Assign MIDI Control) and move the knob of the MIDI controller
that you have chosen for this parameter. Pianoteq will automatically assign the
parameter to the controller. More sophisticated possibilities are provided in the
Options/MIDI section.

Any MIDI control may be assigned except the following ones: MIDI controls 6, 38, 96-101
which are used for RPN and NRPN MIDI parameters; controls 120 to 127 are reserved for
various reset operations ("all notes off" etc.); controls 32 to 63 are reserved for 14-bit
precision controllers.

3.4.4 Instrument controls

The following table summarizes Pianoteq main controls that are associated with
instrument features and will be discussed in the next sections.

Feature Controls Action

Pitch Diapason Changes A (above middle C) frequency
Tuning Temperament Chooses among standard temperaments
Unison width Frequency variation within each unison
(group of three strings)
Octave stretching Stretches octaves
Sound length Direct sound duration Modifies the direct sound duration
Soundboard mechanical Modifies the global sound duration: raising
impedance impedance yields longer sounds
Timbre Spectrum profile Modifies individual intensity of the first
eight overtones
Hammer noise Modifies the hammer noise level
Strike point Changes the overtones level
Soundboard cut-off Raising cut-off frequency enriches high
frequency frequencies of each tone
Soundboard Q factor Raising Q factor shortens high frequencies
duration
String length Controls sound “acidity” (inharmonicity)
Brilliance Hammer hardness Enriches the high frequencies: the harder
the hammer, the brighter the sound
Resonance Sympathetic resonance Controls the amount of sympathetic
resonances (strings, soundboard, cabinet)
Duplex scale resonance Controls the amount of Duplex scale
resonances (undamped string parts)

28
Warning: when adjusting the parameters to extreme values, one may create
instruments having unusual or even unrealistic properties. Hence one can create sounds
that do not correspond to known instruments.

Finally, the Condition slider lets you modify the state of the instrument, from freshly-
tuned to completely worn-out. Right-clicking on this slider and changing the Random
seed parameter allows you to enjoy thousands of broken instrument variations.

29
4 Tuning panel
Pianoteq allows you to perform all of the tuning operations usually made by a piano
tuner. The Tuning panel contains the following controls:

4.1 Diapason
The standard diapason (A above middle C) frequency3 is 440 Hz, but you can change it to
other values by clicking in the Diapason menu.

4.2 Temperament
The temperament defines the way the scale is tuned. By clicking in the Temperament
menu, you can choose from among the following temperaments (see appendix):
 Equal: the standard tuning
 Zarlino (circa 1558): sometimes called the “physicians scale”, based on harmonic
thirds (ratio 5/4) and fifths (ratio 3/2)
 Pythagore (VIth A.C.): based on harmonic (pure) fifths except for one (the so-
called “diabolus in musica”). Can you hear which one it is?
 Mesotonic, Well-tempered and Werckmeister III (XVIIth): unequal temperaments
used in baroque music
 Flat: octaves ratio is strictly 2, for use in certain circumstances, for example
with synthesizers.

The Detune entry in both Diapason and Temperament menus gives you access to the
Note Edit - Detune panel where you can detune your instrument note per note.

3
Frequency is the number of oscillations per second.

30
A unique feature of Pianoteq is that tuning does not follow a pre-computed frequency
table (except for the flat temperament), but takes into account the inharmonicity of
the strings, in the same way a piano tuner does with acoustic pianos. Hence, the
consonance of the notes is improved and the chords have a fuller and richer sound.

For other temperaments, you can enter the Advanced Tuning panel by clicking on the
“mu” button . There you can import your own scala4 files and keyboard mappings
via the Temperament and Keyboard Mapping menus.

When retuning an instrument, you can choose among two options: String tension or Full
rebuild. Changing the string tension affects the timbre of the instrument because
inharmonicty increases when tension decreases, whereas full rebuild recalibrates all
strings in order to provide the same timbre for a given pitch.

4.3 Unison tuning

As very few people know, the three strings of each piano unison (the strings hit by each
hammer) are not tuned at exactly the same frequency. To change the timbre or colour
of the sound, a skilled piano tuner introduces small tuning differences between these
three strings.

4
For more information, see http://www.huygens-fokker.org/scala/

31
Experiment yourself by gently changing
 The unison width, that is, the difference between the lowest and the highest
frequency produced by the three strings of a single note,
 The unison balance, which allows you to adjust the intermediate frequency of a 3
strings choir from the lowest (balance = -1) to the upper frequency (balance = +1)
of the choir, balance = 0 being the factory setting value.

4.4 Octave stretching

It is quite usual to stretch octaves5 in a piano, but how much should they be stretched?
Well… this might be a matter of taste! Adjust it to your own taste by modifying
 The octave stretching parameter. The main effect will be observed in the treble
notes.

When the octave stretching parameter is set to 1, the stretching follows the natural
inharmonicity of the strings (depending on the string length), 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 stretching (the
amount of detuning) induced by inharmonicity to the Detune parameter, which allows
you to observe directly that detuning in the Note Edit - Detune panel.

5
The musical interval between the two closest notes with the same name (e.g. A3 and A4) is
called an octave. The theoretical frequency ratio between two such notes is 2, but in practice it
is slightly stretched because of the inharmonicity of the strings and the property of the human
ear (cf. also Design Panel).

32
4.5 Direct sound duration
One consequence of modifying unison frequencies 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 by changing:
 The direct sound duration.

Time representation of a piano sound decay, natural scale (left) and log scale (right).
Fast decay at the beginning (direct sound), slow decay after (remanent sound).

33
5 Voicing panel (acoustic)
The strings of a piano are struck by the hammers, small wooden pieces covered with
hard felt. For a piano tuner, voicing consists in “shaping” the sound according to the
pianist’s taste. This is made by working 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 controls:

5.1 Hammer hardness

Here you can choose the hammer hardness at three different velocities:
 Piano, corresponding to MIDI velocity 32
 Mezzo forte, corresponding to MIDI velocity 64
 Forte, corresponding to MIDI velocity 96.
The harder the felt, the more brilliant the sound becomes. Of course, the louder you
play, the harder the felt should be, unless you wish to try some original playing effects!

5.2 Spectrum profile

Here you will find small sliders that allow you to adjust the individual intensity of the
first eight overtones (cf. section 8.2). Experiment with it by increasing the weights of all
fundamentals (the first overtone is called the fundamental) by raising the first bar.
Depending on the piano brand, the seventh, eighth or ninth overtone is usually weaker
than the other overtones : the strength of the overtones is related to the hammer strike
point defined by the piano manufacturer.

34
 Time, frequency and time-frequency representation of a note, before and after voicing.
Here, among other things, the first overtone intensity has been increased.

5.3 Hammer noise

You can adjust the hammer noise, that is, the weight of the hammer percussion sound.
With a loud hammer noise, you will feel as though you are standing close to the piano.

5.4 Strike point

The strike point slider allows you to choose the position where the string — or the bar
for percussion instruments — is struck by the hammer or the mallet.

A special humanization feature allows the strike point to vary as if it was played by a
human musician. This feature is particularly suitable for the chromatic percussion
instruments. Right click on the strike point slider and select humanize. You can adjust
the range of the random variation on both sides of the mean strike point.

5.5 Soft pedal

Here you can control the smoothing degree of the una corda pedal, also called the soft
pedal. Despite its name, the una corda pedal usually lets the hammer strike the three
strings, but with a softer part of the hammer felt.

35
6 Voicing panel (electro-
acoustic)
The tone sources (reed, tine, bar) of an electro-acoustic piano are struck by hammers or
mallets whose hardness can vary, depending on the material that is used. Here again, as
for acoustic pianos, Pianoteq provides a voicing panel that offers the following
parameters:

Hammer hardness, spectrum profile and hammer noise work in the same way as with
acoustic instruments.

6.1 Pickup symmetry

In an electro-acoustic piano, the pickup is not exactly in front of the tone source at rest.
When it is exactly in front, due to the symmetry of the device, the note jumps one
octave higher than the normal tone. Moving the Pickup symmetry slider from left to
right makes the pickup move from an unsymmetrical position to a symmetric position,
providing thus a wide range of timbres.

6.2 Pickup distance

The pickup distance slider sets the distance between the tone source and the pickup.
When the pickup is moved closer to the tone source, the sound becomes more distorted
and the timbre variation between soft and loud sounds increases.

36
7 Voicing panel (clavinet)
The clavinet works much like a clavichord. When a key is depressed, a small rubber tip
strikes the string and presses it on to an anvil. It contains two sets of pickups, positioned
above and below the strings, and is usually electronically amplified.

The voicing panel of the clavinet lets you choose among the four standard pickups
settings:
 A-C: Lower pickup
 B-C: Upper pickup
 A-D: both pickups
 B-D: both pickups but out of phase.
Even more, it lets you make any continuous change between these four settings by right-
clicking on the two CD/AB buttons.

The original register switches for tone colours Brilliant (shortened to "Bright"), Treble,
Medium, Soft are also available.

Hammer hardness, spectrum profile and hammer noise work in the same way as they do
with acoustic instruments.

37
8 Design panel (acoustic)
This panel offers controls over piano design parameters such as string length or
soundboard characteristics (the soundboard is the wooden plate which transmits the
string vibrations to the air.)

8.1 Soundboard
On a real piano, you cannot change the soundboard mechanical impedance 6. With
Pianoteq, it becomes very easy: it is just one of the design parameters. You can control:
 The soundboard mechanical impedance: the greater the impedance, the longer
the sound becomes.
 The soundboard cut-off frequency: the higher you set this frequency, the more
high overtones will be present.
 The soundboard Q factor: the greater this factor, the faster the high overtones
will decrease.

8.2 String length

Each piano note produces a complex sound, mainly composed of overtones with
approximate frequencies f, 2f, 3f… where f denotes the fundamental frequency.

A parameter which greatly affects the timbre (and the tuning) is the so-called
inharmonicity: the more inharmonic the strings, the more the overtone frequencies of
each string are driven away from their theoretical values f, 2f, 3f… and the more the
piano sound will resemble a bell.

Inharmonicity decreases very rapidly with string length. Experiment by changing the
String length. The difference will be most evident in the bass range. You can choose up

6
That is, how the soundboard resists the string vibrations, and thus amplifies the sound.

38
to a 10 meter long piano! At such a size, there is almost no inharmonicity. People say
that piano manufacturers dreamed of producing pianos without inharmonicity…

8.3 Sympathetic resonance

The Sympathetic resonance parameter controls the weight of the strings’ sympathetic
resonances. It is used, for example, in the famous piece Mikrokosmos by Béla Bartók.
The sympathetic resonances depend on the position of each individual damper, and
consequently on the position of the sustain pedal: it is longer when the sustain pedal is
down, for dampers do not then touch the strings.

Experiment by pressing down a few keys very slowly so that they do not produce any
sound, and then, without pressing down the sustain pedal, play a few notes staccato.
You will hear the resonance introduced into the first depressed notes. If you release
these notes, the sound will stop.

You can also do the “opposite” experiment. Play a note loudly and hold it, press silently
another note, and release the first note: it continues resonating in the second note.

8.4 Duplex scale

The Duplex scale parameter controls the weight of the duplex scale resonance, issued
from the undamped string parts located between tuning pins and frame (front scale) and
between bridge and frame (rear scale). This invention was patented by Steinway (who
consulted with the physicist Hermann von Helmholtz) in 1872 and enriches the harmonic
content of the notes.

8.5 Blooming
The Blooming parameters, first designed for steel drums, can also be used for the other
instruments, allowing to create new sounds. The “blooming” effect that characterizes
the timbre of the steel drums arises from the non linearity of the mechanical response
of thin steel sheets. During the attack, some energy is transferred from lower to the
higher overtones, producing a “boiinng” sound. Two parameters control this effect:
 The blooming energy parameter controls the amount of mechanical energy which
is transferred from lower to higher overtones,
 The blooming inertia parameter controls how fast this energy is transferred: the
higher the inertia, the longer it takes to be transferred.

39
9 Design panel (electro-
acoustic)
The tines that serve as resonator in certain electro-acoustic pianos produce a typical
noise when hit by the hammer during the attack, or by the damper during the release.
In the Pianoteq Electric Pianos Vintage Tines MKI and Vintage Tines MKII, these two
noises can be controlled separately by the Tine noise hammer and the Tine noise
damper parameters.

Impedance and sympathetic resonance work in the same way as with acoustic
instruments.

Here again, the Blooming parameters, first designed for steel drums, can be used for the
electro-acoustic instruments, allowing to create new sounds. See in particular the “MKI
Blooming Grit” preset.

40
10 Velocity panel
On the left side of the Audio Engineering section, you can find a velocity control curve,
allowing you to adjust Pianoteq to your keyboard. You can add or remove control points
(double click to remove) and modify the curve by moving them with the mouse. The
upper menu lets you separately adjust Velocity, Note-off, Pedal and Aftertouch
velocities.

A right click on the velocity graphic opens a menu where you can select and manage
velocity presets.

The calibration button opens the Keyboard calibration assistant which will help you
adjust Pianoteq to your keyboard and pedal and to your own playing style. We strongly
recommend that you follow that procedure at least once. See also tutorial 13.4.

The reset button resets the displayed velocity curve to the default curve.

If your digital keyboard is not equipped with Aftertouch, you still can test Pianoteq's
Aftertouch by clicking with the mouse on its graphical keyboard and dragging the cursor
vertically above the keys.

41
11 Output panel

In the middle of the Audio Engineering section you will find:

 A menu that allows you to choose from among four recording modes:
stereophonic, monophonic, sound recording and binaural. The sound recording
mode lets you set microphone positions for acoustic instruments. The binaural
mode includes a head model and is mostly intended for use with headphones.
The stereophonic and monophonic modes are used with electro-acoustic
instruments and also allow compatibility with previous Pianoteq versions. Click
on save as for saving your microphone settings.

 A volume VU meter, equipped with a limiter than can be turned on/off by a

simple click. By reducing high amplitudes, the limiter is intended to avoid cracks
that may appear when the amplitude is too high (in such a case, the clipping led
to the right of the vu-meter shows up).

 The sound volume. You can adjust it note by note via a double click on the slider.

 The sound dynamics, which controls the loudness level between pianissimo and
fortissimo. Since it is applied to each note, it can be seen as the ideal
compressor for it allows you to adjust the dynamics without any distortion. In
particular, the attack and decay of individual notes are not modified.

 Ten types of pedals that can be assigned to the four user interface pedals (you
can change the default assignment for each pedal by right-clicking on the pedal).

42
11.1 Pedals

The ten pedals that can be used are the following:

o Una corda pedal, also called soft pedal. It moves the piano action to the
right (on grand pianos), so that the hammers strike the strings differently,
changing the timbre of the notes,

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

between hammers and strings, creating a softer sound. This pedal is
usually found in upright pianos and in some pianofortes,

o Harmonic 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. Depress some keys, depress the
sostenuto pedal, release the keys, and the sound of the notes will
continue as long as the sostenuto pedal is down. Check "Ignore the
sustain pedal" if you do not want the sostenuto pedal to capture the
dampers lifted by the sustain pedal,

o Super Sostenuto pedal, where the notes held by the sostenuto can be
replayed staccato, which is not possible on a "real" piano,

43
 o Sustain pedal, which lifts the dampers, letting the strings ring after the
keys are released. Being progressive, it allows the so-called “partial
pedals”7,

o Rattle pedal, also called bassoon pedal, which equipped certain historical
pianos, as for example the Besendorfer from the Kremsegg collection. A
piece of parchment comes into contact with the strings to create a
buzzing noise resembling the sound of the bassoon,

o Buff Stop pedal, where a wooden bar covered with leather or felt is
pressed against the strings, softening and shortening the tone. It can be
found in some harpsichords and historical pianos. On a real harpsichord,
the buff stop generally acts only on one register, leaving the other
registers untouched. In Pianoteq, you can select which registers are
affected by the buff stop pedal. This can be done via a right click on the
register buttons (L8', U8', 4'), which gives you also access to the level and
detune of each register:

o Glissando pedal, which produces smoother note attacks, as when a harpist

plays glissandos on his harp,

o Pinch Harmonic pedal, which produces harmonics by shortly touching the

string at a specific point on new notes, producing harmonics. Also known
by harpists as flageolet.

7
If your piano supports a fine enough MIDI progression when using the sustain pedal.

44
11.2 A sound radiation physical model
The Pianoteq instruments are based on a physical model of the soundboard and its
radiation. It simulates the sound field generated by the instrument, and thus allows you
to place microphones anywhere around the piano, or just above the soundboard, or
even below 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 model is also provided: here, an additional treatment is applied to the sound
pressure registered by the ears of the listener. It can provide an increased realism when
listening with headphones.

11.3 Sound recording mode

Once you have selected the recording mode, the microphone window opens (you can
detach the microphone window by hovering the mouse cursor above the microphone
area and dragging it with the mouse). You can then drag a microphone to any location
around the instrument and choose its direction.

45
11.3.1 Microphones and microphones techniques
Several types of virtual microphones are available, such as omnidirectional, cardioid and
figure 8, to choose from a range of well-known microphone brands: U87 (omni, cardio
and fig8), DPA-4006-4007-4011-4041, C414 (omni, cardio and fig8), CMC6-MK2-MK4, SF-
12-24, R84, as well as two "perfect" microphones (they capture the acoustic field
generated by the model without any distortion) : perfect-omni et perfect-fig8.

When Proximity effect compensation is checked, an automatic compensation algorithm

is involved which avoids the increase in bass response when the microphone is close to
the soundboard.

46
To make it easier moving several microphones, you can link them together, either by
the Link to command from the microphones menu, or by double-clicking in between the
microphones you want to link. Then you can move them, rotate them and adjust their
distance to each other.

By right-clicking in the mic area, you can save your mic settings as a Mic. Preset and
load those you have created.

Here are a few classic microphones techniques.

 AB Technique. Two omnidirectional microphones are placed approximately 50 cm

(19") of each other. The technique is denoted BA in Pianoteq when the left/right
channels are reversed.
 XY Technique. Two cardioid microphones are placed as close as possible and
facing each other at an angle taken between 90º and 135º.
 ORTF Technique. Two cardioid microphones are placed approximately 17 cm (7")
of each other (distance between our ears) and facing each other at an angle of
110º.
 MS Technique. An omnidirectional microphone (M) and a figure 8 microphone (S)
are placed as close as possible and facing each other at an angle of 90 º. The
output used in the left and right channels are then M+S and M-S.

AB XY ORTF MS

47
11.3.2 Mix table
The mix table allows you to mix the microphones into the different output channels. For
each active microphone and each active channel, you can adjust the volume, the delay
and the polarity that you want to be applied by clicking in the corresponding cell (right
click opens the popup). Polarity is reversed when Reversed polarity = 1. Which channels
are active depend on your audio configuration.

48
11.3.3 Compensation
When switched on, Level compensation and Delay compensation compensate
respectively for the level and delay on each line connecting a microphone to a channel.
When switched off, the raw sound from the microphones is heard: the volume decreases
with the distance from the piano while the delay increases. In both cases, level and
delay that you adjust in the mix table are relative to the chosen configuration.

11.3.4 Stereo width and sound speed

Two other parameters can be adjusted in the sound recording mode:
 The stereo width. This parameter allows you to narrow or broaden the stereo
image of the instrument,
 The sound speed. Since this parameter was present while we developed the
model, we chose to make it available for you. Its effect is equivalent to changing
the time unit. It modifies the travel time of the sound waves in the air.

11.3.5 Lid position

The lid can be raised or lowered. Hover 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 because it is part of the acoustic radiation model and thus directly influences
the sound waves captured by the microphones.

49
11.3.6 Binaural mode
If you have selected the binaural mode, you can choose the position of the listener
around the piano. The binaural mode involves physical modelling of a dummy head. You
can rotate the head in any direction, and you can even increase its size (for big headed
people only).

11.3.7 About the microphones position

As is well-known among sound engineers, the microphone position has a dramatic effect
on the resulting sound of the piano: for some positions, the sound is nicely balanced
from low to high frequencies while other positions lead to a strongly coloured sound.
There might be places where some frequencies are almost completely missing (wave
nodes), and even the best position is far from rendering a purely flat response:
recording always brings some additional colour, which makes sound recording a real art.

The next graphic gives an idea of how “flatness” can vary with the position: the lower a
point of the surface, the flatter the response becomes.

50
12 From action to effects
The lower right panel gives access to the Action, Mallet Bounce, Equalizer and Effects
settings. The buttons below it provide a shortcut for enabling/disabling the selected
effects and the reverb.

12.1 Action
Here you can adjust several parts of the piano action:
 Damper position: when a note is released, the damper falls back on the strings
and each overtone decays more or less rapidly depending on the damper position.
It is particularly noticeable in the bass notes when using partial pedals (and also
with keyboards sending variable key release velocity),
 Damping duration (efficiency of the dampers),
 Last damper: all keys with MIDI note number greater than this value have no
damper,
 Mute: makes the dampers more or less press onto the strings,
 Key release noise,
 Sustain pedal noise: “whoosh” when all dampers rise together, as well as when
they fall.

12.2 Mallet bounce

This feature is particularly interesting for the chromatic percussion instruments,
including the cimbalom.

51
You can adjust the way the mallet bounces on the bar (or on the cimbalom strings):
 Initial delay: adjust the delay for the initial bounce
 Velocity sensitivity: the higher the sensitivity, the longer the first bounces at
high velocity (the “drop height” has increased)
 Delay loss: adjust the amount of delay loss from one bounce to the next one
 Velocity loss: adjust the amount of velocity loss from one bounce to the next one
 Humanization: adjust the random variation of all these parameters.

12.3 Equalizer
Contrarily to the Equ3 effect (cf. Section 12.4), this equalizer works in pre-processing
(modifying the model before computing sound). The fact that it works in pre-processing
allows automatic volume compensation: for example, when increasing the medium
spectrum, it will increase the medium frequencies in each note while keeping the
natural balance across the keyboard. In other words, the middle notes will not get
suddenly louder than the other ones. Another advantage of pre-processing is that it
allows very fine variation in the EQ curve, unlike on a standard 3 band EQ. You can add
(click) or remove (double click) control points and modify the curve by dragging them
with the mouse.

12.4 Effects
The effects panel lets you chain three effects that can be switched if wanted.

52
The effect menus allow you to select among the following effects: Tremolo, Wah,
Chorus, Flanger, Phaser, Delay, Amp, Comp, Equ3.

The following controllers are shared by several effects:

 Delay: the length of the delay line in milliseconds
 Depth: the loudness variation in dB in the effect
 Feedback: the percentage of signal feedback in the effect delay line
 Mix: the ratio of the effect and the unprocessed sound
 Mono switch: changes the effect from mono to stereo
 Rate: frequency of the oscillator that modulates the effect
 Stereo: phase offset between the stereo oscillators
 Sync switch: its menu allows synchronizing the effect to the tempo
 Tone: simple tone control for the delayed signal.

In the Tremolo effect, you can control the shape of its LFO by draging the mouse
horizontally and vertically over the Shape curve.

In the Wah effect, the Wah slider itself is the direct controller of the wah-wah effect
(right click on it and click on MIDI to assign it to a MIDI controller). In Auto-Wah mode,
the Wah is modulated by the amplitude of the sound. Specific Wah controllers:
 Sensitivity: Auto-Wah is disabled when the slider is at the extreme left. The
more you push it to the right, the lower the amplitude which starts triggering the
Wah effect
 Depth: controls the upper limit of the frequency shift for the wah-wah filter.

53
Similarly, in the Phaser effect, the Phasing slider is the direct controller of the phaser
effect. Specific Phaser controller:
 Intensity: the width of the frequency sweep, ranges from 0% to 100%.

The Amp effect simulates an amplifier equipped with the following controllers:
 Mix: the ratio of the effect and the unprocessed sound
 Drive: amount of distortion introduced in the signal
 Bass: amplifier low frequencies boost
 Midrange: amplifier mid-range boost
 Treble: amplifier high frequencies boost.

The Comp effect is a standard compressor with the following controllers:

 Ratio: gain ratio input/output above the threshold
 Attack: the time it takes for the compressor to reduce the gain once the signal
reaches the assigned threshold level
 Release: the time it takes for the gain reduction to end once the signal drops
below the assigned threshold level
 Threshold: the level at which the compressor gain reduction starts
 Gain: the gain in the overall level after the compression.

54
The Equ3 effect is a simple 3-band parametric equaliser. Dragging control points on the
interface will change the cutoff-frequency and the gain of each band. Pressing the
’shift’ key while dragging will change the Q factor of each band.

12.5 Reverberation
A new convolution reverberation unit simulates acoustic surroundings ranging from
Studio up to very long reverbs like Cathedral or Taj Mahal. It includes other types of
reverbs such as Plate, Spring, Speakers, Broceliande... In PIANOTEQ STANDARD or
PIANOTEQ PRO, you can even load your own reverb impulses via Load WAV impulse in
the reverb menu.

The reverberation is controlled by the following parameters:

 Mix: the relative level in dB between reverberant sound and direct sound
 Duration: the length of the reverberant sound
 Room size: from 5 to 50m
 Pre-delay: the time between the direct sound and the reverberant sound
 Tone: a tilt equalizer that only affects the reflected sound, darker to the left,
brighter to the right
 Tail / Early reflections: the relative level in dB between early reflections and
reverberation tail.

55
13 Practice
And now, a few tutorials to help you understand how Pianoteq works. We will learn how
parameters influence the sound. It is important to notice that Pianoteq also lets you
produce new sounds which could never be obtained from a real instrument.

13.1 Tutorial 1: tuning

What is the difference between a “normal” piano and a “honky tonk” piano? Most of the
difference can be found in the unisons tuning. Each note has three strings, except in the
bass range. The honky tonk sound comes from the fact that these three strings are not in
tune: they do not produce the same frequencies. You can obtain this effect by moving
the unison width slider to the right in the Tuning panel:

Normal tuning Honky tonk tuning

However, having the three strings perfectly in tune is not necessarily best. If you push
the slider completely to the left, the three frequencies of each unison will match almost
perfectly, but you will find that the sound becomes uninteresting. It sounds too “clean”;
it lacks life. So, how should it be tuned? There is no universal truth in such an aesthetic
matter. That is why Pianoteq, for the first time in a digital piano, lets you adjust the
unison tuning to your own taste!

When changing unison width, you may also find it interesting to change the direct sound
duration, reducing it if you have reduced unison width and vice versa. Observe that the
closer the strings are to being in exact unison, the faster the direct sound will decay and
the slower the remanent sound will decay.

Unison tuning is not the only feature that affects tuning: another question is how
intervals, that is, the frequency ratio between two different notes, are tuned. The
tuning of all the intervals within an octave is called a temperament.

Over the years, many different temperaments have evolved. The most commonly used
today is the equal temperament, in which all semitones are equal. However, a few
hundred years ago, people used many other temperaments, some of which you can
choose in the temperament menu. Try playing them. You may find the difference not so
evident when playing single notes, but much more prominent when playing chords,
some of them having a nice consonant sound, whereas others having a quite harsh
sound.

56
13.2 Tutorial 2: voicing
The main objective of piano voicing is setting the brightness of the sound by adjusting
the hammer hardness. Different music may require different voicing. The Voicing panel
contains three hammer hardness sliders. Try first moving the mezzo slider, which acts
on the hammer hardness around MIDI velocity 64. Moving it to the left, you will obtain a
softer sound, whereas moving it to the right yields a brighter sound:

Normal setting Bright setting

Once you are familiar with these sound changes, you can try the other two sliders acting
at piano level and forte level respectively. You may also want to experiment with using
the hammer noise parameter in conjunction with this hammer hardness setting. You
can, for example, set the hammer hardness to very soft, but increase the volume of the
hammer hitting the string using the hammer noise setting. 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 brightness of the sound. On the other hand, you may want to
have hard hammers to make the timbre bright, but at the same time reduce the volume
of the percussive knock of the hammer hitting the strings.

Another feature is timbre adjustment through the intensity of the individual overtones,
which can be partially performed on a real piano by shaping or needling the hammers.
 Try moving the overtone sliders one by one in the spectrum profile, starting with
the first overtone, also called the fundamental.
 Experiment by increasing the eighth overtone by 15 dB. A funny sound, isn’t it?
 Next, try some more global shaping, raising or lowering, for example, the first
three overtones:

Voicing is not independent from tuning, for shaping the sound during tuning can be
considered as voicing. Do you want to obtain longer decay? Then you can:
 Act directly on tuning by reducing the unison width in the Tuning panel,
 Act indirectly on tuning by increasing the direct sound duration,
 Act on design parameter by increasing the soundboard mechanical impedance in
the Design panel.

57
13.3 Tutorial 3: soundboard design
Soundboard impedance plays a crucial role in piano design. What is the soundboard
mechanical impedance? When a periodic force is applied to the soundboard, the wood
oscillates with a certain velocity at the same frequency as the applied force. The
soundboard impedes (resists) with its inertia, elasticity and resistance: this is the
mechanical impedance, which has a ratio of force / velocity.

Typically, a high impedance results in a long sound because the energy is only slowly
transmitted from the strings to the soundboard, and vice versa. High impedance yields
long but weak sounds whereas low impedance yields strong but short sounds. Hence
piano manufacturers have to find a compromise between sound level and sound
duration.

With Pianoteq’s solution, you are free to amplify the sound as much as you want. There
is no more compromise. You can set the impedance, adapting it to the sound duration
that you want:

 The first slider, impedance, acts globally on the impedance at all frequencies.
Moving it to the right will result in longer sounds and vice versa.

The mechanical impedance depends on the frequency. The impedance is usually quite
high below a certain frequency called the cut-off frequency, above which it drops down
with a slope called the Q factor: the rate at which impedance is reduced and thus the
rate at which the sound decreases in length. Higher frequencies decay more rapidly than
lower frequencies. Hence:
 Moving the second slider, cutoff, to the right will increase the cut-off frequency,
and thus increase the number of high overtones that are long.
 Moving the third slider, Q factor, to the right will increase the impedance slope,
and thus decrease the duration of the overtones above the cut-off frequency.
Moving it to the left will instead allow these overtones to decay more slowly,
prolonging the initial bright sound just after the attack.

Example: if you like emphasizing the sound of the strings, you can reduce the Q factor.
Alternatively, you can increase the impedance or the cutoff.

58
13.4 Tutorial 4: adapting Pianoteq to your keyboard
For demanding pianists, it is of utmost importance to adapt Pianoteq to the keyboard in
the best possible way.

 Step 1. If your keyboard has its own velocity settings, choose the one you like the
best in general.

 Step 2. Use the Keyboard calibration assistant by clicking on the calibration

button below the velocity window and follow the instructions step by step.

 Step 3. If necessary, make further adjustments of the velocity curve by moving

the control nodes of the curve or adding new ones.

Further adjustments
Some further adjustments can be made that depend on the instrument you are playing:
 Step 4. Select the dynamics that you want to use, typically between 20 dB and
60 dB. Measurements made on acoustic pianos show a dynamic range of
approximately 50 dB. In piano recordings, due to 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.

 Step 5. Choose the appropriate timbre when playing piano, mezzo forte and
forte by moving the corresponding sliders in the Voicing panel.

You are now ready to play. Note that steps 3 to 5 can also be used to adapt Pianoteq to
a given MIDI file in the best possible way.

59
13.5 Tutorial 5: difference between spectrum profile
and equalizer
What is the difference between the spectrum profile (see tutorial 2) and the equalizer?
Let’s look at an example. Open the Voicing panel and set the first two spectrum bars
respectively to +6 dB and +3 dB:

What happens to the sound? All notes are modified: for each note, the fundamental has
been increased by 6 dB and the second overtone by 3 dB. The piano sound has become
globally softer because the higher overtones now have a lower amplitude relative to the
fundamental and the second overtone.

Using several undo’s, put the spectrum bars back to their original values, and now
adjust the equalizer curve, increasing it from 0 dB to 10 dB when going down from 200
Hz to 62 Hz:

What happens to the sound now?

 For all notes with a fundamental above 200 Hz, that is, above G2 (the G just
below middle C), nothing happens, because their overtones are all above 200 Hz,
where the equalizer is a straight horizontal line.
 For notes below G2, the first overtones are modified according to the equalizer
curve. For example, G1 whose fundamental is 98 Hz will have its fundamental
frequency increased by 6 dB, whereas the other overtones remain almost
unchanged (because they are above 196 Hz).

The resulting piano sound will have more bass, with an unchanged middle register and
treble notes.

60
14 Pianoteq Pro
Pianoteq Pro is the advanced version of Pianoteq. It includes the following additional
features:
 Note per note adjustment for physical parameters: tuning, unison width, hammer
hardness, strike point, string length, spectrum profile, soundboard impedance,
damper position... This note per note adjustment is available in the Standard
version only for tuning and volume.
 Sample rates available up to 192 kHz (limited to 48 kHz in the Standard version).
Be aware that a high sample rate will generate a massive increase of CPU load.

14.1 Note Edit

The Note Edit (note per note adjustment) of parameters is a very powerful tool that lets
you adjust the chosen parameter for each note.

61
You access the Note Edit window by clicking on the Note Edit button or by double
clicking on an “editable” slider. You can drag the Note Edit window anywhere on your
screen and open several new windows, allowing you to work on several parameters at
the same time as you can see in the picture above, where Unison width and Direct
sound duration are being adjusted.

Observe the handles that let you perform some more global changes on the curve. These
handles are located on specific control notes that you can select/unselect by a double
click on the control rail below the graphic. These control notes are shared by all
parameters except the special case of the spectrum profile which is described in the
next section. For fine tuning, press the Shift key while moving a point of the curve.

Clicking outside a control note lets you modify any other note individually.

Convenient tools are provided that allow you to modify a given shape: random, smooth
and rescale. Click and drag the mouse around the button to vary the degree of the
effect (see also the tips that are provided on the interface). The reset button resets all
parameters to the saved settings of the preset (contained in the fxp file on the hard
drive).

14.2 Spectrum profile

The Note Edit of the Spectrum Profile works a bit differently from the other
parameters, for you can adjust each overtone for each note! You can access it by a
double click on any of the spectrum profile sliders.

Overtones can be modified individually, but also in different combinations called

harmonic, comb, major, octave... Various draw modes named simple draw, haircut and
fill only are also provided. All these features are grouped in the same menu on the
right, labelled simple draw at first access.

62
The spectrum profile has its own set of control notes that you can select/unselect by a
double click on the control rail below the graphic. They are independent of the control
notes used by the other parameters.

Outside the control notes, the spectrum profile is linearly interpolated, and you can
observe the intermediate values by clicking on the corresponding note on the control
rail.

14.2.1 Example 1
If you set a single control note and increase its third overtone by 6 dB, all of the notes
will have their third overtone increased by 6 dB:

With a single control note...

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

63
14.2.2 Example 2
Here — starting with a reset to clear everything — since we wanted only the middle C to
be modified, we added 2 control notes on each side to prevent the interpolation from
“propagating” to the other notes:

With three consecutive control notes...

... you can alter only the middle note if you want to prevent your edit from spreading to
the notes above or below it.

64
14.2.3 Example 3
In this last example, we modified the middle C and the C below, and we observe how
the intermediate notes are interpolated:

Profiling the middle C...

... and the C below ...

... results in interpolated values for the F between.

65
15 Appendix: temperaments construction
MATLAB programs for some Pianoteq built-in temperaments 8. Inputs are equal tempered
frequencies f (which may be stretched) and corresponding MIDI numbers.
%-------------------------------------------------------------------
function f = pythagore(f,MIDI)
%-------------------------------------------------------------------
delta = 3/2/2^(7/12);
ratio = delta.^[-3 -8 -1 -6 1 -4 3 -2 -7 0 -5 2];
f = f.*ratio(rem(MIDI,12)+1);
%-------------------------------------------------------------------
function f = zarlino(f,MIDI)
%-------------------------------------------------------------------
ratio2C = [1 25/24 9/8 32/27 5/4 4/3 45/32 3/2 25/16 5/3 16/9 15/8];
ratio = ratio2C./2.^((0:11)/12);
ratio = ratio/ratio(10); % leaving A unchanged
f = f.*ratio(rem(MIDI,12)+1);
%-------------------------------------------------------------------
function f = mesotonic(f,MIDI)
%-------------------------------------------------------------------
q = 5^(1/4);
ratio2C = [1 5*q^3/16 q^2/2 4*q/5 5/4 2/q 5*q^2/8 q ...
25/16 q^3/2 4*q^2/5 5*q/4];
ratio = ratio2C./2.^((0:11)/12);
ratio = ratio/ratio(10); % leaving A unchanged
f = f.*ratio(rem(MIDI,12)+1);
%-------------------------------------------------------------------
function f = welltempered(f,MIDI)
%-------------------------------------------------------------------
q = max(real(roots([1 0 0 2 -8]))); a = (128/q^5)^(1/7);
ratio2C = [1 a^2*q^5/16 q^2/2 a^4*q^5/32 q^4/4 2/a a*q^5/8 q ...
a^3*q^5/16 q^3/2 4/a^2 a*q^4/4];
ratio = ratio2C./2.^((0:11)/12);
ratio = ratio/ratio(10); % leaving A unchanged
f = f.*ratio(rem(MIDI,12)+1);
%-------------------------------------------------------------------
function f = werck(f,MIDI)
%-------------------------------------------------------------------
ratio2C = [1 256/243 1.1174 32/27 1.2528 4/3 1024/729 1.4949 ...
128/81 1.6704 16/9 1.8792];
ratio = ratio2C./2.^((0:11)/12);
ratio = ratio/ratio(10); % leaving A unchanged
f = f.*ratio(rem(MIDI,12)+1);

8
Some of these temperament definitions derive from “Der Piano und Flügelbau, Herbert
Junghanns, Verlag Das Musikinstrument Frankfurt/Main, 1979”

66
16 Special acknowledgements
16.1 Instrument providers
 Michel Armengot, France (electric piano CP-80)
 Paul Badura-Skoda, Austria (pianoforte Walter)
 Robin Bigwood, UK (harpsichords Grimaldi, Blanchet)
 J. Blüthner Pianofortefabrik GmbH, Germany (Blüthner Model One grand piano)
 Olivier Cussac, France (Rhodes MK1, Wurlitzer 200A, Clavinet Hohner D6, Toy
Piano Michelsonne)
 Pascal Gaillard (Steel Drum)
 Luigi Gaggero, Italy (Cimbalom Balázs Kovács)
 Marc Guilliou (Spacedrum, Hand Pand, Tank Drum)
 Grotrian Piano Company GmbH, Germany (Grotrian Concert Royal grand piano)
 Haendelhaus, Germany (pianoforte Schmidt)
 Modartt SAS, France (Steinway B)
 Monique Niebisch, France (grand piano Erard)
 Orchestre du Capitole de Toulouse, France (celesta, glockenspiel, marimba,
xylophone)
 Daniel Parisot, France (Steinway D)
 Heinz Preiss, Kremsegg Schloss Museum, Austria (clavichord: Neupert.
Pianofortes: Schöffstoss, Schantz, Graf)
 Klaus P. Rausch, Germany (Electra-piano, Pianet T)

16.2 Recording engineers

 Luc Filaretos (Studio le Graal, France)
 Laurent Minh (Ginkgo, France)
 Herwig Preiss (Austria)

Warm thanks to our beta testers, who helped us greatly in improving our instruments.
Without their intensive participation, their constructive criticism and enlightening
advice, Pianoteq wouldn’t have become the enjoyable instrument which you are
playing.

Many thanks also to our customers and distributors for their support and all others who
supply us with valuable opinions and ideas.

67
Company
MODARTT is a company that develops and provides software, hardware and consulting
services for artistic and technological applications. MODARTT also supports the KIViR
project (Keyboard Instruments Virtual Restoration), offering digital restoration of
historical keyboard music instruments in museums. Please visit our website
www.pianoteq.com for further details.

Authors
 Pianoteq: Philippe GUILLAUME and Julien POMMIER
 Artwork: Richard BARACETTI and Guillaume JOLY
 User Interface: Guillaume JOLY
 Manual: Niclas FOGWALL and Philippe GUILLAUME
 Editing and proofreading: Gregg JOHNSON

Intellectual property
* Pianoteq is a trademark of MODARTT S.A.S., 10, avenue de l’Europe, 31520 Ramonville Saint Agne, France.

* Patent: US 7,915,515 B2, Europe 07.823284.0/2047455, Japan 5261385, China ZL200780022703.2.

* Cubase, ASIO, and VST are trademark of Steinberg Media Technologies GmbH

* The Audio Units logo is a trademark of Apple Computer, Inc.

* FFTPACK v4. Copyright (c) 2004 the University Corporation for Atmospheric Research ("UCAR"). All rights
reserved. Developed by NCAR's Computational and Information Systems Laboratory, UCAR,
www.cisl.ucar.edu.
Redistribution and use of the Software in source and binary forms, with or without modification, is
permitted provided that the following conditions are met:
- Neither the names of NCAR's Computational and Information Systems Laboratory, the University
Corporation for Atmospheric Research, nor the names of its sponsors or contributors may be used to endorse
or promote products derived from this Software without specific prior written permission.
- Redistributions of source code must retain the above copyright notices, this list of conditions, and the
disclaimer below.
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disclaimer below in the documentation and/or other materials provided with the distribution.
THIS SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING,
BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT. IN NO EVENT SHALL THE CONTRIBUTORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY
CLAIM, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES OR OTHER LIABILITY,
WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION
WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS WITH THE SOFTWARE.

* WEBP. Copyright (c) 2010, Google Inc. All rights reserved.

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Redistribution and use in source and binary forms, with or without modification, are permitted provided
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THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR
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* LIBJPEG. This software is based in part on the work of the Independent JPEG Group.

* LAME 32bits version 3.99.5

Copyright (c) 1999-2011 by The LAME Project
Copyright (c) 1999,2000,2001 by Mark Taylor
Copyright (c) 1998 by Michael Cheng
Copyright (c) 1995,1996,1997 by Michael Hipp: mpglib

All products names and any trademarks mentioned are used for identification purposes only and are
copyrighted by their respective holders.

69