Thanks, I'm glad I was able to help you out! Your tip for resetting presets would've come in handy here. Tyson Fury doesn't have quite as much beard, but I don't mind the comparison 😂

That's a smart idea!

How are you connecting it to the laptop, through an audio interface or usb? Either way, there should be latency settings you can adjust somewhere for that

@@NickLeonard im using usb...

@@calikokat100 check your ASIO settings and if you have the current drivers for everything. In Pianoteq, there's a devices tab with the setting in standalone, or in a DAW, it will be in settings. Go for the lowest latency and see if there's any glitches in the sound and raise it some if there is.

Glad you enjoyed it!

Thank you for the kind words Charles, I appreciate it! I've also spent several hours playing with the mic settings, and hopefully I can help out here. For a realistic "in the room" sound, I like to start with the reverb off, as the mic positioning already creates that. Now, it would be nice in the future if they gave you options on room size and type, but you can still create nice ambience just by having some mics further back in the virtual room. A good starting point is a stereo pair representing your ears, roughly where your head would be and facing the strings, and another pair further out in the room to taste, off to the right side of the piano where it is often mic'd for recording. With delay compensation on, all the mics will be giving you sound at the same time, if you turn it off, you can simulate more of a room sound. You'll want to have no delay on the close mics and manually experiment with the delay time on the room mics, more delay will be a bigger room sound. Once you are happy with the placement and delay of the mics, you can see if adding some extra reverb is something you like or not, I leave it low or off. I would also test out the different mic types, many are pretty similar, the DPA mics are pretty neutral and good for getting a natural sound, others, like the ribbons are more colored, I usually prefer those on room mics, but I would start with something like the 4011 for reference. Mic placement can have a big impact on the tone, so just keep experimenting and see what sounds good to you!

Thanks so much for the answer and good advice. It looks like I have some experimenting to do here (and some learning about different mic types).

@@charlesleseau try setting up just one mic and flipping through the mics with a demo track to see how they all sound! A lot will sound pretty similar, but some, like the U87 or Ribbon will have a pretty big effect on the sound too. It's also a good way to get a sense of what different placements do to the sound without too many variables. Also test out how height and angle, or pattern type affect it. It's good to read up on what cardioid, omni, figure 8 all do to the pickup pattern

Yeah, that was all very good advice. I turned reverb off (somehow missed the little button on the GUI), and that resulted in an instant cleaning of the sound. It is amusing that in putting the mics where my speakers were I was instantly put right about the bass/treble separation error, but your suggestion of putting mics where my ears are didn’t occur to me past that point at all, and it is totally in the ballpark, while correcting the issue. One special oddity: I have a sort of Sherlock Holmes “you’re a fraud” test for any faux piano that purports to achieve string resonance (Ivory II failed catastrophically, for instance). It’s the last measures of Debussy’s ‘Canope’, from Preludes Book II. That has an open C9 chord (no 7): c-g-e in the left, and c-g-d in the right, held with pedal, then a simple mixolydian melody on top, A-Bb-Bb-A-A-G-F-E. On a real piano, this will all result in an undulating overtone wash, left to right, that is easily memorized by even a non-pianist. Pianoteq does this with varying degrees of success from piano to piano, but it’s never really quite there. To be fair to Modartt, I have done very little fiddling with the string resonance sliders, so there’s that. Hilariously, my RD-2000, with notoriously hated piano sounds, also has some modeled pianos, and they pass the Canope test perfectly, if you turn the string and damper resonances full throttle. They’re just horribly boring pianos in every other way. I wish the two companies would collab on this thing a bit.

@@charlesleseau it's smart to have a test like that to size up different piano models and libraries. I really like the idea of modeling here, because there are so many complexities to a real piano, that stacking up individual note recordings, no matter how good they sound, will reproduce fully. I would try playing around with the string and soundboard resonance, and even the overtone sliders to see if you can achieve that effect!

I don't think there's any setting for that you can access, but I'm sure it's under the hood somewhere, so they could make it possible

You'll have to check compatibility of that pedal, I don't know, but usually they list options in the manual. The Korg D1 doesn't support multiple pedals, but I made my own as a separate midi controller! kzfaq.info/get/bejne/op6kp7CZydzbc4U.html

That's a great idea! I havent tried that, but with 5 outputs available it should be, yes

yes, that has MIDI and USB outputs

I'm not sure. Most plugins allow activation on 2 or 3, but you'll need to check their website to be sure

Look at some of the free sample libraries out there. Check out the Pianobook site.