CyberGene Well, it's M1-native and runs ultra smooth š I was able to configure the lowest possible buffer size of 16 which is just crazy and didn't have any audio glitches.
Cool. My new Mac Pro should be here next week. Can't wait to have the Modern U available at church.
God Bless,
David
HZPiano CC#007, so couldn't see how to affect timbre without affecting gain (volume)
Hi David: it's the opposite - with CC#7 you control volume (gain) without significantly affecting the note character (timbre). I only go as far as ~ 10 % in overall change in gain in a range of velocities, to keep the effect under control without too much "jumpiness".
I have not tested thoroughly, but I assume that CC#7 affects everything that is sounding at the moment in a given MIDI instrument (it is a controller for any volume knob). You can set CC#7 events per midi channel, so it will not affect other instruments in backing tracks, I hope. Moreover, since the (small) change in volume is applied simultaneous with a new sounding note, psychophysically I do not perceive a change in volume on the previous decaying notes, although it is probably happening and it may become counterproductive in some circumstances... Experience will tell. And AFAIK, CC#1 would to the same but since in some applications people may already use CC#1 while CC#7 is almost forgotten, I prefer CC#7...
I think that @johanibraaten mentioned having bought VelPro, which a very good and comprehensive program to manipulate velocity curves, and it is able to do exactly this. The difference between my tool and VelPro is 40 USD, customer support, and good quality vs "whatever-works-well-enough" š
vagfilm Hi David
Hello,
Me not David š.
Thanks for your further explanation!
Being the purist that I am, I probably wouldn't want the overall volume of already sounding notes/resonances etc. fluctuating with each newly played note.
I really wish there was a solution, though, for having a per-key independent velocity-to-timbre and velocity-to-gain curve/adjustment/influence.
I do salute VI Labs for having separate curves for timbre and gain, that already works very usefully. If that was expanded to per-key adjustments, that would be perfect.
Cheers and happy playing,
HZ
HZPiano do salute VI Labs for having separate curves for timbre and gain, that already works very usefully. If that was expanded to per-key adjustments, that would be perfect.
Yep. I've gotten spoiled with VSL's user interface. Individual note gain/volume adjustment is very helpful with some of their libraries (280VC). I could get way more out of the Modern U if it had those adjustments.
God Bless,
David
David B Individual note gain/volume adjustment is very helpful with some of their libraries (280VC).
Isn't that common to all synchron pianos? The 280VC has more controls?
Anyway, what the VSL (and others) don't have is the possibility of applying changes according to combinations: ie, use velocity AND note to apply a gain (volume) adjustment.
I will try to find some time during the weekend to run some tests and will post.
vagfilm Isn't that common to all synchron pianos? The 280VC has more controls?
It's a common feature in their software. I just find it more necessary with the 280VC. Not so much with the Bƶsendorfer Imperial.
God Bless,
David
Well, as we say in Bulgaria, "you can't carry an awl in a cloth bag", meaning I can't wait until my vacation and decided to record something with the Modern U. I made my own patch by mixing two of the microphones, applying some EQ to tame down the highs, using custom half-pedal values to avoid the abrupt pedaling (it's pretty good now!), etc and then recorded a Scriabin piece I'm currently learning and still playing from the score and towards the end it's too sloppy and I'm dragging it too much while seeking for the notes... And because I've been so busy at work, I have a total of 1 hour at the piano for the last 2 weeks š
Anyway, here's the recording:
CyberGene I'm dragging it too much while seeking for the notes...
You're being too harsh on you. I am often sloppy, dragging it too much and seeking for the notes myself -- if in that condition I were playing 10% of the quality you are playing, I'd consider myself and accomplished pianist.
On the sound, I can't comment because the kids have taken all the headphones and left me only with computer speakers for now (I could use the NU1 speakers, but I'd need to boot another computer and don't have time now). If you ever record this same piece again with another virtual piano, please share so we can compare apples-to-apples.
In any case, thanks for sharing!
CyberGene decided to record something with the Modern U.
Very beautiful song and nicely played.
I'm curious, since you grew up playing an upright, does the Modern U provide the illusion of actually sitting behind an upright when you're playing it?
In my limited experience, it seems to me that there wouldn't be much difference playing the Modern U compared to an actual Yamaha U3. Of course, I could be way off, that's why I'm interested in your experienced opinion.
God Bless,
David
David B itās a very familiar experience indeed. My upright is a rather short one and doesnāt sound as rich and āin tuneā. If a real U3 sounds as good as the Modern U, Iād love to have one.
That being said itās an upright sound and I prefer Garritan CFX for those commercial-grade polished grand piano recordings š
CyberGene That being said itās an upright sound and I prefer Garritan CFX for those commercial-grade polished grand piano recordings š
Yeah, I prefer the full bass response of VSL's Bƶsenderfer Imperial over the diminished bass of the Modern U upright sound, but in terms of realism, I give the Modern U the advantage because it doesn't have to reproduce the massive power of a concert grand (which is hard/impossible) to do with speakers. However, reproducing the realism of an upright can be more convincing with good speakers.
God Bless,
David
To all of you out there, better pianists than me (easy feat, so nothing to brag aboutš): are there technical characteristics (pedaling, staccato, light notes, ???) that are better captured in the Modern U compared to garritan cfx or synchron engine?
My turn to share experience.
Use case: play in the headphones, as similar as it gets to the actual upright I'm sitting in front of (Petrof P118).
Mission almost accomplished. It's of course a totally different instrument, but sounds like an upright. In my memory, U3 was like a whole lot bigger and much more powerful, but probably it's not fair to compare an instrument to its recording played over the headphones.
Here my settings, should anyone be interested:
Velocity curve is the default one, just the bend on the gain response is set to 0.1
Cheers
Mike
I also own the Garritan CFX, but it's a huge grand, not really comparable to Modern U.
Sitting in front of an upright, a captured upright feels more real in all regardsš
Garritan CFX sounds too funny, to play scales and the whole theoretical stuff on, couldn't stop laughing, so switched to Modern U.
MHirsch My turn to share experience.
That's a very nice mic combination. The mono mic along with the -1 timbre shift really tones down the brightness and shimmer in the upper range, which I've always felt was a little too much.
I've never experimented the the mono mic and I'm really liking your settings. Thank you for sharing.
God Bless,
David
David B That's a very nice mic combination. The mono mic along with the -1 timbre shift really tones down the brightness and shimmer in the upper range, which I've always felt was a little too much.
Ohh, thatās also my main gripe which I tried to fix with the EQ. I didnāt even try the timbre shift because I intuitively thought it would be something weird. Iāll definitely try it. What does it do exactly? Is there a user manual, I couldnāt find one.
CyberGene intuitively thought it would be something weird
Hello,
Same here, but now I might give that shift another chance too.
If I am not mistaken, such a shift setting on many piano VSTis means picking the next-higher or next-lower (or a distance of more keys depending on the +/- number set) key's samples and then re-pitching those to the actually played key's pitch. Which I see as more artificiality introduced and therefore I initially steered clear of it. But who knows, maybe it works differently in Modern U (and/or the underlying method of the UVI Workstation).
I believe there is no user manual. There is a very elaborate description on the Modern U product page, I reckon (VI Labs thinks) that doubles as a manual.
Cheers and happy playing,
HZ
Maybe this helps a bit with settings
https://www.vilabsaudio.com/download/True%20Keys%20Manual%20V1.pdf
CyberGene Scriabin
Hello,
Just listened to your recording. As a "self-taught pianist" you should pat yourself on the back a little more! š
And, doesn't it sound lovely and realistic? Wonderful. I'd like to see a screenshot of the settings you used there. Your recording also shows (near the end) that the bass/tenor regions have more difficulty resolving the chords in such a way that the individual notes in the chords keep standing their own ground. This is something I also ran into playing Modern U. But -- I should add -- on real-world uprights that usually is just like that, so I don't mean to point out a fault here.
Cheers and have a good weekend,
HZ
HZPiano
Thanks for the nice words!
The final few chords I played with the sordino samples assigned to the soft pedal which is why itās not very distinct but in all fairness Scriabin just put a lot of notes in a low register which is a tricky situation for any piano.
Iāll share my multi and also screenshots.
