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Using the Vienna MIR Pro 3D settings (MIR2) discussed in the previous article [1], I re-examined the entire performance. [1] Creating a String Quartet with Vienna MIR Pro 3D: Compared to MIR1, the presence of each of the four strings has become much clearer, and the interplay and tension between them can now be expressed much more effectively...

—From “A Gentle Breeze Blowing Across the Meadow” to an Ensemble of Four Strings in Tension ― Previously, when revisiting the fifth movement, “Cavatina,” of Beethoven’s String Quartet No. 13, Op. 130 [1], I tried using Vienna MIR Pro 3D [2] for the first time. At that time, my initial point of reference was Vienna...

As originally planned, I have reviewed the piano sonatas I have worked on so far, up to No. 32, and compiled them onto a CD titled “Digitally Performed Classical Music” as follows. Vol. 1: The final three pieces of the 32-piece set, “The Three Late Sonatas” Track 1: Piano Sonata No. 30 in E Major, Op...

I previously recorded *Cavatina* [1], but this time I replaced the reverb with Vienna MIR 3D, which I recently acquired. The three-dimensionality of the soundstage has changed significantly compared to before, and I think it sounds much better. [1[: Cavatina—I don’t know if you’re familiar with it, but actually, this *Cav...*.

I’ve finally finished the third movement of Beethoven’s String Quartet No. 15, which I’ve been working on bit by bit. It took quite a while because, during that time, I was experimenting with how to use the Vienna MIR 3D convolution reverb—a new tool I’d recently added to my setup—as I worked on it. Until now, I’ve been using...

While entering the iconic non-vibrato passage that appears at the beginning of the third movement of Beethoven’s String Quartet No. 15, something really bothered me. When sustaining this long chord, I couldn’t quite achieve the natural resonance you’d hear from an actual string quartet, and there was a faint “hum...”.

I'm entering the notes at a tempo of 138 per half note, as specified by Beethoven.

I'm entering the notes at a tempo of around 100 per half note.

The Use of the Una Corda on Pianos of Beethoven’s Time

Emotional Expressiveness and the Subtle Art of Repeating a Theme