DP and VST piano EQ

dore_m

So I'm working on my latest sample library, and in comparing to other commercial libraries, I noticed that, at least with Noire and Garritan, the lowest velocities feel like they've been artificially "darkened" with EQ. That is, the lowest velocities have more higher frequencies dampened on purpose to give a wider dark/bright range when performing pp to ff.

I recently played some concert grands and when I play keys so softly that they barely sound, it's still really bright. So now I'm trying to decide between making the my library "real", or more "fun to play".

Maybe the libraries use more far away mics where the high frequencies aren't picked up as prominently at low velocity.

Any opinions on how this is implemented in your particular favorite DP/VST sound?

QuasiUnaFantasia

dore_m So now I'm trying to decide between making the my library "real", or more "fun to play".

How about doing both, and calling the first "real", and the second "brooding, but fierce". 😀

I believe Steinway are actively aiming for a somewhat murky sound at pp, but much greater clarity (and high frequency content) at ff. I could be wrong about this, for sure, but it also seems to fit with all the different versions of Steinway samplings that I am aware of. This is based on my subjective listening experience.

CyberGene

That’s a very interesting observation. I recently commented on the Chopin Competition thread about how the Fazioli grand has the same brightness across dynamics which is something I don’t like.

My Yamaha N1X darkens with softest dynamics, however around the softest ppp it sounds clean and kind of bright which I would prefer being darker and I always wondered if that’s how the real CFX they sampled it from is. I’m more used to Garritan CFX and those really dark and warm pianissimos. I think both have their advantages though.

dore_m

CyberGene

Whoa……. there's a hint at my library.

MacMacMac

I take it for granted that piano will be (or should be) more mellow than forte. And even more so with the una corda pedal.

arc

MacMacMac That is the expectation but it not granted as it depends on how the hammers are voiced. Same applies to the una corda: creating a significant tonal difference between una corda (which is actually due corde) and the usual tre corde requires a lot of time and effort from a technician (and that is why the una corda on so many pianos does not sound at all like what we hear in a professional recording).