Pianoteq 2.2 – the first truly modelled piano(STANDALONE & VST)
Pianoteq – the first truly modelled piano
Pianoteq is a high-class virtual instrument using breakthrough technology, available for PC and Mac as a VST/AU/RTAS plugin and stand-alone player.
* Responds in real time to pianist's interpretation
* Sounds and behaves just like a real piano
* Extraordinary playability and expressiveness
* Advanced tuning, voicing and soundboard adjustment
* Extremely small (15 MB) and fast loading
Pianoteq is issued from academic research and results in what we call the fourth piano generation. This is the very first, and only, piano available that belongs to this generation.
Marco 'Borso' Borsatti has gained a Grammy Award as sound engineer, working with the most important Italian artists of today: Laura Pausini, Vasco Rossi, Eros Ramazzotti, Andrea Bocelli, to name a few.
Borsatti's career started in 1989 as studio and live sound engineer. In 1992 his first approach to the audio professional world began in the Fonoprint recording studios, where he had the possibility to work with the best recording devices on the market, from analog tapes to the most advanced hard disk recording workstations. It was then he met the arranger and composer Celso Valli, one of the most influential musicians in Italy. He then started his research in finding the best way to manage the piano sound in his productions. He regarded his research as complete the day he first tried Pianoteq.
Pianoteq plays like a real piano and sounds natural like a real piano. It is a virtual instrument of a very high level and you can really get the same feeling with it as with a true grand piano.
The man on keys for London Ska legends Madness has been the driving force behind many of their 20 Hits over almost 30 years. Their debut album "One step beyond" catapulted them into the charts all over Europe, giving the teenagers multiple platinum status.
Every kid in the UK and Europe danced to Songs such as "Baggy Trousers" or "Night Boat To Cairo", their trademark 'nutty sound'. After their world smash "Our House", with which they entered the US charts for the first time in 1980 Madness became a household name all over the world. The string of hits continued until the band took a break in 1985. They returned with a bang when they organised the 1992 Madstock concerts in London's Finsbury Park, the only Live event to date to literally register on the Richter scale due to the enthusiastic pogo-ing of the 70.000 punters over the two days. Since then Madness have enjoyed continued success of the live circuit worldwide and are currently working on the follow up of the 2005 album "The Dangermen Sessions".
Mike's keyboard sound has, although intricately layered with strings, mallets and other, more synthetic colours of the sonic spectrum, always had a firm base in the piano. Since most Madness songs are essentially written around a piano part the quality of this instrument is crucial to band's overall sound.
Recently, Mike has changed his hardware rack for a computer set-up, and while a lot of the synthesizers and sample based natural sounds such as strings were relatively easy to port across, even some of the most high-end piano sample libraries ultimately disappointed him. Moving away from samples he discovered in Pianoteq the perfect tool, both in the studio and on the road. The moderate CPU load it puts on a system, combined with superb sonic performance and low inherent latency make it the ideal base for his key rig now. In a series of recent concerts Pianoteq has proven to be exactly what was called for, both musically and technically.
Pianoteq plays like a real piano and sounds natural like a real piano. I like the fact one can change the different elements, it's very versatile. Unlike many of the other software pianos I tried this one really sounds good, is simple and can deliver drastically different types of Piano sound... they all sound good, which is just what I want!
Hugh Sung is one of the most sought after collaborative pianists in the Classical Music field today, having worked with the likes of violinists Aaron Rosand, Hilary Hahn and Leila Josefowicz, flutists Julius Baker and Jeffrey Khaner, and leading composers such as Jennifer Higdon and Richard Danielpour. A graduate of The Curtis Institute of Music, Hugh joined the faculty in 1993 and currently serves as Director of Student Recitals and Instrumental Accompaniment.
Hugh maintains an active website (www.HughSung.com) which combines his love of music and passion for technology, and serves as a rich resource for musicians looking for a friendly place to learn more about adopting technology to enhance their art and lifestyle. He is an early adopter of technologies like the Tablet PC, which has enabled him to completely convert his paper music library into a digital format, and innovative new performance presentations like the Visual Recital (www.VisualRecital.com), which combines images, animation, and video clips in a live recital setting fully synchronized and controlled by the musician.
Working with digital pianos had always been an exercise in frustrating limitations, a bit like being forced to color by numbers with no more than 10 crayons at a time. Even high-end piano sample libraries have been extremely disappointing, offering exquisitely recorded piano sounds completely divorced from any real interaction or control of the sound beyond a relatively sparse range of touch.
Modartt's Pianoteq, on the other hand, represents a stunning breakthrough, making it possible for the first time for a serious musician to work with a digital instrument that gives virtually the full color palette of a 'real' acoustic piano. Pianoteq responds in the widest dynamic range I've ever experienced in a computer instrument, from the most delicate pianissimos to keybed-thumping fortissimos, complete with all the physical phenomena that accompanies such deliveries like sympathetic vibrations, soundboard echo, and an amazing variance of hammer/string interactions. Damper control is amazingly continuous and realistic, enabling the most subtle tapers of note-ends and flutter pedal effects.
You can actually work on this virtual piano and start to discuss possibilities of tone, color, articulation - all the expressive qualities normally associated only with fully acoustic counterparts! Any digital piano will sound decent at a loud, narrow dynamic range, but Pianoteq really shines in the subtleties of pianissimo colorations and the full feel of control throughout sound production.
As Josef Hoffman once marveled at the Duo-Art Piano Roll's capability to capture the essence of a great musical performance, I'm similarly inclined to marvel at the way Pianoteq is able to express the full musical intentions of the pianist, lending itself elegantly as an artistic tool for the pianists of today's digital age.