Modern D vs Pianoteq vs The People

Pete14 Oh, but we can……do it all with one piano!

of course we can, when that "one" is an acoustic (especially grands), it has all the different colors for any kind of music. (abd that's why I'm saving money for the future, maybe i can buy a second hand yamaha c7 in 2026)

but vsts are different "recordings" (they're a slice of the piano, not all of it)
some of them are bright, some are thinn, some are warm and most of them don't have all the necessary features, so we need a few of them to do the job (especially for music production),
most guitarists have a few different guitars for different genres.

Pete14 And the proof is in the pudding: Sofia

that was over a year ago, and you still use it as a reference, you know pete? I'm starting to think that sofia is nothing but "yet another" one of your fake accounts here, idk...

Pete14 Yes, a name once beloved ‘round here, yet not so much anymore; after she proved a massive point: it’s all in your head!
i wasn't there you know (not interested in amateurs doing sampling at all - no offence btw), but i can hear pianoteq (modeling) robotic timbre from a mile away, even if it's subtle, that's why i never purchased ivory 3 even though it's a good instrument.

Pete14 I bet you that if I came out with my own VST, “Pete’s Huge D,” there will be many who claim, “I don’t know, but there’s a transparency to Pete’s Huge D that’s just perfect for Bach, but for Liszt I’ll stick to the Modern D….”

another bitchy comment, but alright you can bet on anything you want, but if i was you...

Pete14 Heck, I’m gonna get to sampling that D right now, and I’ll sell it to you addicts for $100, and make me some easy money!

first of all you probably don't even know how to set an amplifier gain level to avoid clipping so don't talk about sampling, thank you.
secondly... a sampled piano from a modeling cultist is probably the scam of the decade, so nobody would give a single dollar for it IMHO😀

Pete14 I will not respond to insults

how sad is that...

Pete14 To play devil’s advocate, imagine a classical pianist refusing to play a concert on a CFX because “that instrument is better-suited for Jazzers,” and having the production team running out in a haste to find an actual, physical D to haul up into the concert stage and move the already-there CFX out

To give you a realistic perspective, big concert halls have several concert grands of different companies, and international competitions have a day or two for competitors to choose their favorite pianos for their performances. Moving these pianos are not easy, but unlocked wheels and other things I cannot see would help the movers in the process. Even in universities there are different pianos to choose from. So what you say is completely within doable context and don’t involve another side of town.

There was once a pianist who broke a string on one of the higher registers of the piano at National Center for the Performing Arts in my country few years ago, and another piano rose from mechanisms from the bottom of the stage, or something like that. The piano change took only minutes.

Pete14 To play devil’s advocate, imagine a classical pianist refusing to play a concert on a CFX because “that instrument is better-suited for Jazzers,” and having the production team running out in a haste to find an actual, physical D to haul up into the concert stage and move the already-there CFX out; now, that would be illogical, but you know what? knowing how full of themselves “classical” artists are, I wouldn’t doubt it if Yujas Wang has actually done this

wow that's an ID 10 T error
the stupidness in this comment equals 3 tsar bombs
as i mentioned:

pianow of course we can, when that "one" is an acoustic (especially grands), it has all the different colors for any kind of music. (abd that's why I'm saving money for the future, maybe i can buy a second hand yamaha c7 in 2026)

but vsts are different "recordings" (they're a slice of the piano, not all of it)
some of them are bright, some are thinn, some are warm and most of them don't have all the necessary features, so we need a few of them to do the job (especially for music production),
most guitarists have a few different guitars for different genres.

pianow don’t forget violins. As long as we are talking acoustic instruments, each one has a character that’s fit for a certain context. Of course, there will be instruments that are voiced in a versatile manner, and can play more genres. It seems to me that pianos have been going in this direction for a few years now.

David Lai
that's a conversation of its own but my piont is that this ID 10 T thinks vsts are equals to the real instruments so we only need one of them in our SSDs lol, of course i don't expect otherwise from a person who thinks pianoteq sounds natural.

Pete14 To play devil’s advocate, imagine a classical pianist refusing to play a concert on a CFX because “that instrument is better-suited for Jazzers,” and having the production team running out in a haste to find an actual, physical D to haul up into the concert stage and move the already-there CFX out; now, that would be illogical, but you know what? knowing how full of themselves “classical” artists are, I wouldn’t doubt it if Yujas Wang has actually done this:

David Lai To give you a realistic perspective, big concert halls have several concert grands of different companies, and international competitions have a day or two for competitors to choose their favorite pianos for their performances.

Actually these conflicts happens, but it realistically has more to do with sponsorships and economical agreements than actual preferences for a certain brand. I've experienced this at three different occasions. First time was when saw Martha Argerich in Copenhagen about 20 years ago. Before the concert we met the piano technician that worked at that concert. He said that they suggested a Fazioli for the concert as it was the newest and "best" piano they had and the instruments that been used at the most recent concerts but she refused and said that only a Steinway would do. The second occasion was when I saw Chic Corea in the concert hall in Gothenburg (my city of residence). As he is sponsored by Yamaha he refused to play on the Steinway concert grands that they have at the venue. Instead they had to rent a new Yamaha CFIIIS from the towns Yamaha center and transport it to the concert hall. That piano was later sold to school at a reduced price and I have played it, excellent instrument BTW. The third situation was at another concert hall in Sweden. It's a quite new venue, 20 years or so and when they build it they got a new Yamaha CFIIIS as their concert grand. This is a smaller concert hall so they don't have multiple concert grands. From the very first start they've had problems with their decision to get a Yamaha concert grand since so many artists are sponsored by Steinway so they had to rent a Steinway all the time since many of the performing artists couldn't play on their Yamaha grand. A few years ago they decided to sell the Yamaha and get a Steinway instead and that Yamaha is the one I posted a picture of this Friday, an absolutely brilliant instrument. So all-in-all I think this thing with "Steinway or Yamaha or whatever-artists" is pretty ridiculous and I tend to agree with @QuasiUnaFantasia about his statement about Steinway as a company. Great pianos though.

johanibraaten I forgot to mention that aspect, thanks for bringing it up. Yes, Steinway, Yamaha, or Kawaii artists can be difficult for concert halls that are small, you’re right! The situation I described also exists, but this is another side of the situation. But still, not as hell Pete described it.

johanibraaten pretty ridiculous

Yes!!!

Man-oh-man… 🤦

Cheers and… back to the music, down to earth, reconnect with the essence,

HZ

HZPiano

Good luck with that, HZ, for I’ve already proposed to ‘move on,’ but the minute I even dare say that one piano should suffice (even if some people get a few for experimental purposes), and even dare hint that maybe-just-maybe you don’t need that Modern D, all hell comes down on old & frail Pete…..

For a minute I thought the title read “Modern D vs Pianoteq vs The People,” but all they want to talk about is the MD, and how it’s the greatest D ever to be produced (keep in mind that once the next “new & shiny” thing shows up, the MD will suddenly not be so great…..count my words).

Can you believe they’re now accusing me of “becoming Sofia”? The nerve!

But thank god you haven’t gone mad, and yes, neither has CG nor David B (even though they bought the MD). One, CG, because he had the guts to say what’s all the fuzz about this “bunch of recordings,” and the other, David B, because he’s been level-headed and objective (to a certain extent), and less of a fanboy…..

Once again, let us continue with a peaceful discourse, and please allow me to breath; is that too much to ask?

Pete14 and less of a fanboy

He did say he's been enjoying it, and his classy words in describing the tone of the Modern D is quite well put. I enjoyed watching his short and to-the-point review, and I'm glad this piano VST plays well on his Numa GT. So yes, he's well in the camp of those appreciative of what VI Labs is doing.

David Lai He did say he's been enjoying it, and his classy words in describing the tone of the Modern D is quite well put. I enjoyed watching his short and to-the-point review, and I'm glad this piano VST plays well on his Numa GT. So yes, he's well in the camp of those appreciative of what VI Labs is doing.

Okay, that was a respectful response, and I very much appreciate that you appreciated my call for us to use some decorum whence addressing each other, because that’s the only way this discussion can move forward……

Pete14 And I appreciated that you didn't bite back at me, because I corrected you in how you understood David B's thoughts on the new library. Thank you!

David Lai

It seems we’re on our way to a peaceful resolution……😇

Pete14 I certainly hope so.

pianow I feel that the 280VC has a bit more modern oomph right out the box. I prefer it when playing some Liszt type of arpeggios and chords; or some Neo Soul; or Interstellar sort of music. It has a very distinct wood/cabinet sound as well.

So I like the sound. But like almost all the VSLs, the velocity issues for me (out of the box) are problematic compared to the Modern D.

So in this case, what I like most about the 280VC is probably the acoustic piano itself being captured; but as far as capturing the piano tones and making it playable then Modern D by a long shot.

HeartKeys
wow that was a complete answer thank you
i feel like the MD sounds a bit lighter and more open compared to the 280vc
it doesn't have those super sharp high mids which i consider a plus cause it's easier to play such instrument, also it has everything an acoustic piano has to offer, and you say it's very playable outofthebox so i think it's a notch or two above vsl stuff at this point... you know? better recordings, better piano preparation and better scripting.

pianow I agree with the above, as both a former user of VSL and current VI Labs user, I can certainly say to the playability and sound of Modern D.

pianow and you say it's very playable outofthebox so i think it's a notch or two above vsl stuff at this point

yep. after my previous comment, I went back to VSL, and then toyed with the MIDI sensitivity settings. it did sound better. But ultimately, the time and energy spent on making tweaks doesn't excite me.

on another note-- I'm currently using my wife's computer (we switched), because it's an older one. a 2017 Mac (i gave her my M3 iMac, which is overall way faster). so I re-installed VSL into my current 2017 iMac.... and....

... it can only handle the standard mics. as soon as I put in the extra mics, the cracks/pops goes crazy. Even sometimes the standard mics.

With Modern D, I've had no issues (in terms of getting satisfactory sound and playing, without computational challenges).

Which suggests to me, that Modern D is more efficient in its algorithms/coding/instructions/efficiency or whatever it's called, than the VSL software.

Whatever the reason is, I'm a fairly simple guy, who just wants a great piano experience (sound and touch) when playing a VST. I'm pretty tech unsavvy, but discerning in my hearing.

So for that reason, Modern D currently is my go-to. I won't be surprised though, in a few years, something comes out, whether VI, or VSL or some other maker, that blows Modern D out of the water as well. it only continues to get better, and I'm grateful we're at this advanced stage of VST technology!

ps my wish list then, would be, for VI Labs to create a similarly capable software, of the Bechstein D282; Bosendorfer Imperial and 280VC; and a Mason & Hamlin.

David Lai
which vsl piano have you tried? yk except concert d because that one is just awful and obviously no challenger for the moder d
i'm interested 🙂
if i was to choose a synchron now (a single piano from their lineup) that would be the imperial.

HeartKeys yep. after my previous comment, I went back to VSL, and then toyed with the MIDI sensitivity settings. it did sound better. But ultimately, the time and energy spent on making tweaks doesn't excite me.

yea one of the very annoying things about synchron is that you need to spend a lot of time carving them into their best (and not just pianos, all of their products have that to a certain amount)

HeartKeys on another note-- I'm currently using my wife's computer (we switched), because it's an older one. a 2017 Mac (i gave her my M3 iMac, which is overall way faster). so I re-installed VSL into my current 2017 iMac.... and....

... it can only handle the standard mics. as soon as I put in the extra mics, the cracks/pops goes crazy. Even sometimes the standard mics.

it's a little disappointing to see they don't fully work on a 2017 mac cause a machine like that would eat vsts for fun,

HeartKeys With Modern D, I've had no issues (in terms of getting satisfactory sound and playing, without computational challenges).

Which suggests to me, that Modern D is more efficient in its algorithms/coding/instructions/efficiency or whatever it's called, than the VSL software.

they did a fantastic job with their sampling IMO, all the necessary stuff are there and nothing is exaggerated, you have enough samples per note, enough mics and everything and they were smart enough to use normalization on samples so they could use 16bit audio and that i believe is one of the very important thing that makes this piano such a small vst.

HeartKeys So for that reason, Modern D currently is my go-to. I won't be surprised though, in a few years, something comes out, whether VI, or VSL or some other maker, that blows Modern D out of the water as well. it only continues to get better, and I'm grateful we're at this advanced stage of VST technology!

if i wanna speak from experience then i'd say only vilabs people themselves can do that 🙂 and yea... it's an incredible time to be into music.

HeartKeys ps my wish list then, would be, for VI Labs to create a similarly capable software, of the Bechstein D282; Bosendorfer Imperial and 280VC; and a Mason & Hamlin.

damn it, especially the d282, that piano is very underrated in the sampling world, but i donno how they're going to name it... another modern d? haha
and if they decide to sample an imperial i would buy it in seconds, or even a yamaha cfx (oi @VILabs )
but as far as i know it'll take "THEM" half of century to do all that 🙂 and that's ok cause their standards are quite high.