Pianoteq 3 Standard

After two years of intensive research in several fields - acoustic models, electro-acoustic models, algorithms - MODARTT proudly presents the long awaited and much improved version 3 of PIANOTEQ.

New acoustic model
One of the most exciting new features in version 3 is the new acoustic model which simulates the sound radiation of the soundboard and the cabinet. Developed in close cooperation with demanding musicians, it brings stunning realism, clarity and brilliance.

Unlimited sound perspectives
The new acoustic model allows you to place up to 5 microphones anywhere around the piano in an additional illustrative interface. A mixer is available for combining the mics into 5 output channels, with the possibility to adjust separately level and delay.

PIANOTEQ 3 offers thus full control of the sound source and unlimited possibilities to choose the “colour” of the piano sound, similar to what professional audio engineer do when recording. The resulting experience is simply an amazing audio immersion!
In binaural mode, for headphone usage, a head model is used for simulating the sound heard by a person located where the head is placed in the interface. The head can be rotated in any direction and even its size can be changed.

New grand pianos

In Pianoteq there are 3 built-in grand pianos to choose from: K1, C3 and M3. Each has its own personality and strength. They all benefit from the Pianoteq physical model, bringing truly vivid, versatile and expressive instruments with rich resonances and amazing playability. .
In the end, this is of course a matter of taste and the choice will depend on the selected music. Different perspectives are provided with each instrument: player, recording (4 mics in the C3 solo recording), close mic, binaural… These are only a few among the infinitely many perspectives that you can create yourself by choosing your own recording settings: mics placement and mixing. Thus any musician or producer should find the piano he needs.

The virtual piano factory
When building these two instruments, we took our inspiration from the very best acoustic pianos in the world. They can be used just right out of the box. They can also serve as starting points for creating new instruments, entering the virtual world of the fourth piano generation. PIANOTEQ 3 opens new soundscapes that enriches the resources of all musicians and composers, from amateurs to professionals. Try for example a piano equipped with a virtual carbon fiber soundboard!

As mentioned by Philippe Guillaume, creator of PIANOTEQ: « during the 19th century, there were hundreds of different piano manufacturers offering a great variety of piano timbres. At the end of the 20th century, only a reduced number of timbres were still available because of standardization. The dream that we share with other piano lovers is to offer the musicians a possibility to use and create many different sounds in order to enrich their expressivity ».

New models for other keyboard instruments

With PIANOTEQ 3, a broad family of keyboard instruments is now covered, from historical harpsichords and pianoforte to contemporary grand pianos, electro-acoustic pianos, vibraphones... The different models even share some features; for example, the electro-acoustic pianos have a sostenuto pedal and the acoustic pianos can use the tremolo effect or the limiter. More surprising: you can change the sound speed in the air that is used by the model...

Free add-ons
Since we started the KIViR project, we have continuously enriched our collection of free add-ons which now includes 10 historical instruments: 5 pianoforte, 2 harpsichords, 2 grand pianos and 1 electro-acoustic piano. All these add-ons can be downloaded for free by all PIANOTEQ 

• Below is a detailed description of these.
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• Cimbalom
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• Cimbalom: Kovács
• This is a physically modelled virtual copy of cimbalom Balázs Kovács (2007).
• The cimbalom belongs to the ancestor psaltery, quoted in the bible. The psaltery was later developed into different variants which differed in sound but were similar in their constructive concept. One of these, the cimbalom, was a constant member of gypsy orchestras. Legs and a damper pedal were soon added to the instrument and it reached the status of concert instrument in the 19th Century, thanks to Ferenc Erkel and Franz Liszt.
• Contrarily to the piano, pressing down a key does not lift the corresponding damper. Hence, unless the pedal is depressed, all notes are immediately dampened.
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• Harpsichords
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• Harpsichord: Grimaldi
• This is a physically modelled virtual copy of a harpsichord by Carlo Grimaldi dating from 1697, copied by Andrew Wooderson (Bexley, 2007). Typical of a short-scaled Italian instrument it has a crispness of attack and transparency of tone that makes it ideal for continuo use, and is also well suited to 17th and 18th Century Italian and German solo repertoire. Its two registers can be played separately or combined together.
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• Harpsichord: Blanchet
• This is a physically modelled virtual copy of harpsichord François-Etienne Blanchet, "Château de Thoiry" (1733), copied by Anthony Gale (Frampton Cotterell, UK, 1993). It has a very delicate sound, inviting for inspiring musical moments from the baroque period representative by great masters such as Scarlatti, Bach and Händel.
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• Pianoforte
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• Pianoforte: Walter
• This is a physically modelled virtual copy of an Anton Walter pianoforte.
• Anton Walter (1752-1826) was an important and famous Viennese instrument builder. He was a friend of Wolfgang Amadeus Mozart who owned one of his instruments and often used it in concerts. Ludwig van Beethoven also belonged to those who often praised the solid quality. By improving the Viennese pianoforte action, Walter managed to build instruments with a slightly more powerful sound than that of his competitors. The instruments are often used today as models for the construction of authentic copies.
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• Pianoforte: Schöffstoss
• This is a physically modelled virtual copy of pianoforte Donat Schöffstoss, 1812, recorded at Schloss Kremsegg, A-4550 Kremsmünster, Austria. Schöffstoss offered the delicate Viennese action which gives it a slightly gentler sound than the more sturdy English variants.
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• Pianoforte: Schmidt
• This is a physically modelled virtual copy of pianoforte b>Johann Evangelist Schmidt, Salzburg about 1790, recorded at Handelhaus, D-06108, Halle, Germany. This hammerflügel variant became appreciated by the contemporaries because of its beautiful and even sound, its outside elegance and affordable price.
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• Pianoforte: Schantz
• This is a physically modelled virtual copy of pianoforte Johann Schantz, Vienna, ca 1790, recorded at Schloss Kremsegg, A-4550 Kremsmünster, Austria. Like many other fortepianos of its period, it is very lightly constructed and has much smaller hammers and thinner strings than a modern piano. Beethoven described it as good and durable and he recommended them to his friends.
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• Pianoforte: Graf
• This is a physically modelled virtual copy of pianoforte Conrad Graf, Vienna, 1826, recorded at Schloss Kremsegg, A-4550 Kremsmünster, Austria. The Graf pianofortes were held in high esteem, and soon were considered the greatest and most renowned in Vienna and throughout the empire. Beethoven was particularly fond of these.
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• Grand pianos
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• Grand piano: Erard
• This is a physically modelled virtual copy of piano Sébastien Erard, a half grand (2 m), serial number 109 933 (1922). It has an extraordinary warm and coloured sound with lots of charm, and is equipped with a very delicate una corda pedal. We tried to be as close as possible to the original instrument, including some small "defaults" in the bass strings. The instrument suits naturally well for Liszt who loved playing on Erard.
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• Grand piano: Bechstein
• This is a physically modelled virtual copy of piano Carl Bechstein, a half grand (2.1 m), serial number 79 676 (1896). It has a strong and transparent character which makes it suitable both for classical masterworks and modern pop music. Original characters of the instrument are here reproduced, including its very particular voicing which carries its own personal history.
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• Electro-acoustic
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• Electro-acoustic piano: CP-80
• This is a physically modelled virtual copy of an electro-acoustic Yamaha CP-80, serial number 1982. The CP-80 was a very popular stage piano at the time (1976-1985) with a unique sound and with an authentic grand piano action. It was marketed by Yamaha as a touring friendly and electronically amplified variant of a grand piano. It was famous for its rock solid quality and considered by many as the "Rolls Royce" of the electro-acoustic pianos.
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• Bells and carillons
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• Bells and carillons
• This is a virtual copy of bells and a carillons that were recorded at the European Bell Institute.
• The use of bells in the Christian church goes back to the 6th century. St. Paulin, the bishop of Nola, in the Italian region of Campania, is falsely attributed with having used Bronze instruments to call the faithful to church. This explains why, among the first names used to connote the instrument were the terms "nola" or "campana".
• Campanological art is the art of the bell. The specificity of the term campanological and its derivatives campanology and campanography, have led to the reduction of this universal art to church and temple bells as well as carillons...