Now, my teacher commented that he was concerned about the attack strength of Bach's Goldberg Variations when he was typing the aria. I have heard this comment before when I was playing Beethoven's Piano Sonata, and I tried to deal with it in various ways, but I could not find a good solution. I think it was especially noticeable at the beginning of each measure in this piece, as the dynamic did not change too much.
In fact, the same note has a different sound quality depending on how the piano is played (different touches). Pianists often use their ingenuity to create sounds by holding up their fingers, playing with the belly of their fingers, tapping the back of the keyboard, etc. I think this is a device to somehow express differences in nuances other than strength and weakness. I think it is an ingenious way to express differences in nuance other than strength and weakness.
Unfortunately, the sound source I have does not have that level of functionality. I tried to create a similar sound by adjusting velocity and using a half pedal and a damper pedal, but I could not express it well. I could not express it well on the FAZIOLI,Models with four pedalsand it seems likely that it will play a role. sound source that recently simulated this model from VSL,Synchron Fazioli_F308is now on sale, and I am once again wanting to have it.
Now, using "Aria", I have decided to use the piano sound source that I am currently using (VSL's "Vienna Synchron Concert D-274") other than the newly upgraded Modartt physical sound source,Pianoteq8A sampling sound source from Synthogy, Inc,Ivory3I compared the results with the following. All pianos were sampled or modeled from Steinway & Sons' flagship model D-274 (Humburug). Under exactly the same conditions, I found that in the case of this aria, the Pianoteq8 > Ivory3 > Synchron D-274 provided better connections between notes, smoother response to strength and weakness, and a better polyphonic sound.
I found out that Synchron connects the sampled sounds in several velocity layers, while Pianoteq creates all the sounds one by one by calculation, and Ivory3 compensates between the sampled sounds in the middle of the layers by calculation. This makes a difference in the smoothness of the sound connection.
Also, Pinoteq's response to the position, orientation, and number of microphones is quite impressive. I am really impressed by the calculation that creates these things. Especially in the binaural setting, it was as if I was sitting on a piano chair and listening to the sound as I played, and I had the strange sensation of the sound spontaneously escaping. This is a setting that is not used for listening to music in a concert hall, so I used the 3-mic setting for this aria.
As for the attack, Pinoteq and Ivory3 have a function that allows the user to adjust the hammer's hardness. I have tried a few things, and it seems that this will allow me to control the strength of the attack, which has been an issue until now.