Here's a couple more piano pieces I've been working on.
Baumfelder (1836 - 1916) Coral Polonaise
https://www.dropbox.com/s/mdelaw5txlbomu5/Baumfelder Coral Polonaise.mp3?dl=0
Mozart, Romance (There is no Köchel number provided.)
https://www.dropbox.com/s/6ttupvsl9bvys4z/Mozart - Romance.mp3?dl=0
These recordings are created digitally using a Roland LX-17 digital piano that's driven by Modartt's Pianoteq software. www.modartt.com instead of using the built-in piano sound. Modartt's Pianoteq software utilizes mathematical models of actual piano sounds and is run from my nearby desktop PC that is connected to my digital piano via the USB port and audio cable from the soundcard to the line-in on the piano. What is meant by mathematical modeling is the piano sound is recorded then digitally represented using math formulas.
Unlike sampled instruments, which are bulky and are limited in their sound to what was captured by microphones, and to what the sound engineers could do with the recording, a mathematically modeled instrument is quite small but can have numerous variations by changing parameters to create many iterations similar to reskinning or the numbering scripts used for road names and numbers. This technology is quite common in today's most of the top-brand digital instruments because so much more can be done with it. The difference here is Modartt has taken this one step further and they've been at it since the early 1990s.
An instrument file, such as the instrument used here, is only a few kilobytes instead of hundreds of megabytes. That's KB instead of MB! Within the Pianoteq software, parameters can be adjusted such as the condition of the instrument, the tuning and adjustment of single notes, mic location, or even the environment where the piano is located, and this only scratches the surface! I've barely used even a smidge of these functions.
The piano here is a Bechstein DG concert grand. This is a 273 cm grand piano that normally costs about $200,000. My digital version cost me $63 and I have many variants. This particular instrument is the "Recording 3" that I have modified slightly to add a bit more reverb to it. In addition to this instrument, I have many others including antiques such as a Broadwood grand from 1790, a Conrad Graf from 1830, three modern Steinways, as well as pianos by Steingraeber, Petrof and so many others. Their software versions of these particular pianos is approved and licensed by the companies they represent. All and all it's great playing on some of the greatest and most famous concert grands even from the comfort of my practice room.
Why am I using my digital piano and not using my real Vogel 177T grand? A question asked by so many people. The answer is simple. Noise. I live in a wicked noisy neighborhood with lots of heavy traffic, school buses, people in my house, phones ringing, and parrots. If I were to record myself playing, I would have to edit furiously and fruitlessly to rid the recordings of noise, and then there's no guaranty I can do that well enough to create anything acceptable. I do prefer the real deal, but with my digital instrument, I can do this kind of work without the chaos and confusion creeping in all the time.
Baumfelder (1836 - 1916) Coral Polonaise
https://www.dropbox.com/s/mdelaw5txlbomu5/Baumfelder Coral Polonaise.mp3?dl=0
Mozart, Romance (There is no Köchel number provided.)
https://www.dropbox.com/s/6ttupvsl9bvys4z/Mozart - Romance.mp3?dl=0
These recordings are created digitally using a Roland LX-17 digital piano that's driven by Modartt's Pianoteq software. www.modartt.com instead of using the built-in piano sound. Modartt's Pianoteq software utilizes mathematical models of actual piano sounds and is run from my nearby desktop PC that is connected to my digital piano via the USB port and audio cable from the soundcard to the line-in on the piano. What is meant by mathematical modeling is the piano sound is recorded then digitally represented using math formulas.
Unlike sampled instruments, which are bulky and are limited in their sound to what was captured by microphones, and to what the sound engineers could do with the recording, a mathematically modeled instrument is quite small but can have numerous variations by changing parameters to create many iterations similar to reskinning or the numbering scripts used for road names and numbers. This technology is quite common in today's most of the top-brand digital instruments because so much more can be done with it. The difference here is Modartt has taken this one step further and they've been at it since the early 1990s.
An instrument file, such as the instrument used here, is only a few kilobytes instead of hundreds of megabytes. That's KB instead of MB! Within the Pianoteq software, parameters can be adjusted such as the condition of the instrument, the tuning and adjustment of single notes, mic location, or even the environment where the piano is located, and this only scratches the surface! I've barely used even a smidge of these functions.
The piano here is a Bechstein DG concert grand. This is a 273 cm grand piano that normally costs about $200,000. My digital version cost me $63 and I have many variants. This particular instrument is the "Recording 3" that I have modified slightly to add a bit more reverb to it. In addition to this instrument, I have many others including antiques such as a Broadwood grand from 1790, a Conrad Graf from 1830, three modern Steinways, as well as pianos by Steingraeber, Petrof and so many others. Their software versions of these particular pianos is approved and licensed by the companies they represent. All and all it's great playing on some of the greatest and most famous concert grands even from the comfort of my practice room.
Why am I using my digital piano and not using my real Vogel 177T grand? A question asked by so many people. The answer is simple. Noise. I live in a wicked noisy neighborhood with lots of heavy traffic, school buses, people in my house, phones ringing, and parrots. If I were to record myself playing, I would have to edit furiously and fruitlessly to rid the recordings of noise, and then there's no guaranty I can do that well enough to create anything acceptable. I do prefer the real deal, but with my digital instrument, I can do this kind of work without the chaos and confusion creeping in all the time.