Hi everybody,
I waited to find a time spot with the required calm and focus, to offer my personal review of the new PT9 engine.
Abstract: I think that this time Modartt have eventually tackled certain reflective nuances of piano playing, which until now had remained somehow elusive, to the capabilities of their otherwise excellent physical modelling software.
For reference, I give a bit of technical info:
- HW/OS platform: 2017 iMAC/Ventura 13.7. Software running at 48K/128;
- Piano model: Hamburg Steinway Model D;
- Presonus studio 26C (budget price, solid build, transparent DACs and ADCs);
- Focal Alpha 80 active speakers (linear, three-dimensional, pristine detailed sound);
- Roland RD-2000 stage piano as a Midi Controller (hammer-action keybed with wooden key cores).
As with previous releases, I tested the piano synthesiser on a pro-grade hammer-action keyboard, using a slightly modified logarithmic velocity curve, which in general proved to suit my playing habits and sonic expectations better.
I noticed straight away that the response of the sympathetic resonance had improved considerably, and that this time the spectrum was fuller and subjectively more “well-rounded”. The instrument’s colour has finally acquired a sense of resonating wood, with ameliorated consistency and organicity of piano realism, especially in the mid to high register, which now sounds vastly silkier than before to my ears. There are still very occasional “clanging” notes in the two middle octaves, but completely manageable in context and really unobtrusive.
Not coincidental, in my opinion, is the availability of new sombre presets for every mathematical piano model, meant for more intimate expression and, they say, for the ubiquitous cinematic music (a vague marketing definition that I honestly dislike). In reality, I suspect that those less snappy and non-metallic variants aren’t simply calibrations of eq/fx/hammering: there seems to be something deeper going on under the hood, in terms of programming.
I found them to be much more apt than before for classical or contemporary classical music, if married in this case to a more energetic exponential curve of velocity response, that compensates the generally softer and more detached sonic character.
The expressiveness of the dynamics is simply exquisite, ranging as ever from ultra-delicate pianissimo sparkles in the dark to monumentally aggressive fortissimo cascades.
Very important for me in this release is the cantabile quality of the chords in slow times, which might depend on the improved soundboard modelling, and that in my opinion wasn’t yet there previously. Now it allows for truly expressive timbral nuances of harmonic contemplation, also when the instrument is heard solo.
Overall, I must say that this time I am really impressed, not only by the usual feat of ingenious algorithmic programming, but also and eventually by the wide-ranging and useful musicality, that can be carried around with a small installation footprint, usable on fairly normal lightweight computers.
Well done Modartt 