Pianissimo, virtual grand piano, by Acoustica. Available for Windows 98 and newer. Test equipment: AMD Athlon 2,2 gHz, 1 gb ram, Windows XP, and Apple Macbook Pro, 2,2 gHz, 2 gb ram, running Windows XP (1 gb ram) through Parallels. Kurzweil PC88mx controller.
Stand alone and VST. Retail prices: $68.95 downloaded, $79.95 boxed.
http://www.acoustica.com/pianissimo/
Pianissimo is the newest offering from Acoustica; a virtual Grand Piano, using 250 mb of samples recorded from a Steinway model D combined with physical modeling for all the extras that add to the sound of a real grand, such as sympathetic resonance between strings and within the box. Pianissimo comes in two versions; a stand alone application and a VST instrument. The two versions are virtually identical, save for a few extra features to enhance usability in the stand alone version.
Features.
Pianissimo features controls for lots of different soundsculpting tools. These parameters are common for both versions:
− A master volume slider.
− Sustain and soft pedals.
− A slider for controlling the volume of the mechanical hammer sounds.
− The lid of the piano can be opened to 4 different degrees, from closed shut to all open.
− A reverb section, where you can choose between 7 types of reverb, as well as set it's volume, but not tweak it any further than that.
− And then there's the Tone Control button which opens a new window, featuring the choice between 5 different velocity curves, a slider for the level of sympathetic resonance, another slider for setting the level of a chorus effect, and then a fixed 3 band EQ (lo shelf, parametric, hi shelf)
The lack of real tweakability in these effects leads to the assumption, that these are mostly meant for the performing musician, taking the laptop on gig, and wanting the ease and quick accessibility that piano players know from their digital stage pianos. For production work, I'd prefer more hands-on control over my effects; but then, most DAWs features lots of other effects to choose from.
One could question the decision to put the reverb on the front of the GUI, when the Chorus and the EQ are tucked away behind another click. One could also question why a Chorus is included at all; Acoustica explains it as a catch-all to thicken the sound, create a 80's pop ballad sound, or a honky-tonk out of tune sound, when set to low, medium or high usage respectively.
The stand alone version features a very simple 2 track MIDI sequencer. The 2 tracks are called Left Hand and Right Hand, which suggests how to utilize it, though you can of course do as you wish with the individual tracks. The sequencer is almost as simple as can be; there's a track selector, a Record and a Play/Stop button, a Metronome (allowing you to use any samples you wish as click sounds), and settings for tempo and time signature.
Recorded sequences can be exported to standard MIDI files, as well as wave, mp3, wmv and ogg vorbis files.
All controls are hardwired to standard MIDI CC numbers, allowing you to adjust the volume, the reverb level or the hammer sounds while playing, without having to touch the computer. For some odd reason, though, the programmers have opted to exclude lid, reverb type and velocity curve from the MIDI implementation. That's a bit baffling, as this would otherwise have catered to the more advanced performers.
The VSTi version does not include the sequencer for obvious reasons, but it allows the host application automation access to all parameters - and this time with no exclusions.
The sound.
Pianissimo is, as mentioned, based on a sampled Steinway D. The important thing to take note of here, is that Acoustica does not specifically state that Pianissimo's aim is to sound like a Steinway - only that the sound is based on Steinway samples. This is a good thing, as demanding pianists will know that only a Steinway sounds like a Steinway. It is next to impossible to recreate the experience of playing a real Steinway in software, as there are so many factors shaping the experience you will have as a musician, many of which are out of the programmers hands. Just to mention a few, the programmer has no say in the musicians choice of audio interface, speaker quality and placement, and quality of the controller keys. A common limitation for MIDI based pianos is the sustain pedal, which is a major soundsculpting tool on an acoustic piano, but is restricted to on/off operation in MIDI.
So, when it doesn't necessarily sound exactly like a Steinway, how does it sound? First off, we'll listen to the high keys.
As on an acoustic piano, Pianissimo features damperless action on the top octaves, here starting at the E6. This usually emphasizes the resonant response between the high strings. As the higher pitches are usually lower in volume, it is often easier to hear the mechanics at work when playing it hard. On the other hand, the highs played softly can produce an almost bell like sound; listen here for some high notes:
The mids on an acoustic piano can be a harsh affair when played loudly, but they are also the ones changing the most depending on how hard you strike the keys. I've tried to play some different velocities here, to demonstrate how Pianissimo handles this:
The deep notes on a grand piano are the real test of how well it is build. How closely can you play, without it going all muddy? On a well-built piano, you can play a close triad in the C2 octave, and still be able to hear which chord it is; luckily, the same goes for Pianissimo. Another thing to consider when reviewing Pianissimos deep sounds, is how an acoustic piano very clearly reveals that the strings are made of metal when playing the deep notes very loudly. In the following example, I'll play the deep notes closely, and with different velocities.
It is worth noting, that to get the required results for these examples, I had to set the Sympathetic Resonance and the Hammer Sounds sliders quite a bit up from their default settings. When turned that loud, however, I found the sounds quite impressive. This may be a matter of taste, though, and other users may prefer these sliders set more conservatively.
The quality of the sound of the actual tones must be attributed to the actual samples recorded from the Steinway Grand. Now, it's time to go check out the processing of this thing. This goes for the parts of the sound coming from physical modeling, as well as the effects sounds.
First off in this section, I am going to demonstrate the pedals. In an acoustic piano, when holding the sustain pedal, all strings are left free to vibrate sympathetically with the frequencies from the strings that are actually struck by the hammers. This way, a fuller and richer sound is achieved. I found, that to get the desired effect, I had to turn up the Sympathetic Resonance slider somewhat. Here, you'll get 4 chords, first without, then with the pedal pressed:
Next, the soft pedal, which works by offsetting the hammers slightly to the left, thus making sure that fewer strings are hit pr. note, and also that the strings are hit with a softer, lesser worn part of the filt on the hammer. Same chords again:
It is worth noting that I did not manage to get the soft pedal to respond to incoming MIDI CC data in my old trusty DAW, Logic Platinum 5.5, so I had to click it on and off. It did work as intended in Ableton Live, though, so I feel confident that this has more to do with the age of the last Windows version of Logic than with Pianissimo.
Now for the lid. As mentioned, this can be set to 4 different degrees of open, which of course affects the volume, but also the frequency content of the instrument's sound. Here, the same chords, going through all 4 degrees going from fully open to fully closed:
Finally, the effects. As mentioned previously, these seem to be reserved mostly for the live musician, wanting to adjust the effects with the quick touch of one slider, rather than spending time going through lots of effect parameters. All the same, they do sound pretty nicely, and will certainly serve their purpose in a live situation. First the chorus, set to get first that 80's popballad sound and then the honky-tonk out of tune that is achieved by turning the chorus slider all the way up:
There are 7 different reverb types to choose from. I'll demonstrate 2 of them here, with the volume slider set to 50%. First the Plate reverb, then the Cathedral:
As hinted at earlier, I find these effects to be just fine for quick everyday use, and would have no problem playing for instance a white jacket dinner gig with the effects supplied here. However, for studio production, I'd probably bypass them, and use other, more customizable effect plugins instead.
Real World Usage
Pianissimo has been very light on my computer's processor. Those with the knowledge to read PC specs will testify, that the machine I used to test it out, is far from current (though it was when I bought it, back in 2003), and in fact, it is only just fulfilling the minimum system requirements recommended by Acoustica. Yet, I found no problems running Pianissimo, and had no need to tweak the machine further than it already is. I am convinced, that a machine with specs common for new PCs in 2009 hardly will notice that Pianissimo is running.
I did try Pianissimo on my Macbook Pro too, running Windows XP through Parallels. I didn't manage to get usable results from it, as I had to set latency so high that it was practically non-playable. Yet, I blame this on the memory management of Parallels, and I'm sure that if I had just run Pianissimo on a proper Bootcamp Windows XP installation, I would have had better results.
The Verdict
This is all in all a very satisfactory product. Very easy to use, with relevant features and superb audio quality. The light CPU usage also counts to Pianissimo's benefit.
Pianissimo offers a diverse set of sounds, that still realistically feel like they're coming from the same instrument. I feel right at home with many of the sounds that I have heard while reviewing this, and the few issues that I have mentioned here shouldn't stop anyone from checking it out. Luckily, a 14 day demo is available for download from the Pianissimo website.
Finally, given the very competitive price tag, I believe that anyone looking for a virtual grand piano ought to check out Pianissimo.
Stand alone and VST. Retail prices: $68.95 downloaded, $79.95 boxed.
http://www.acoustica.com/pianissimo/
Pianissimo is the newest offering from Acoustica; a virtual Grand Piano, using 250 mb of samples recorded from a Steinway model D combined with physical modeling for all the extras that add to the sound of a real grand, such as sympathetic resonance between strings and within the box. Pianissimo comes in two versions; a stand alone application and a VST instrument. The two versions are virtually identical, save for a few extra features to enhance usability in the stand alone version.
Features.
Pianissimo features controls for lots of different soundsculpting tools. These parameters are common for both versions:
− A master volume slider.
− Sustain and soft pedals.
− A slider for controlling the volume of the mechanical hammer sounds.
− The lid of the piano can be opened to 4 different degrees, from closed shut to all open.
− A reverb section, where you can choose between 7 types of reverb, as well as set it's volume, but not tweak it any further than that.
− And then there's the Tone Control button which opens a new window, featuring the choice between 5 different velocity curves, a slider for the level of sympathetic resonance, another slider for setting the level of a chorus effect, and then a fixed 3 band EQ (lo shelf, parametric, hi shelf)
The lack of real tweakability in these effects leads to the assumption, that these are mostly meant for the performing musician, taking the laptop on gig, and wanting the ease and quick accessibility that piano players know from their digital stage pianos. For production work, I'd prefer more hands-on control over my effects; but then, most DAWs features lots of other effects to choose from.
One could question the decision to put the reverb on the front of the GUI, when the Chorus and the EQ are tucked away behind another click. One could also question why a Chorus is included at all; Acoustica explains it as a catch-all to thicken the sound, create a 80's pop ballad sound, or a honky-tonk out of tune sound, when set to low, medium or high usage respectively.
The stand alone version features a very simple 2 track MIDI sequencer. The 2 tracks are called Left Hand and Right Hand, which suggests how to utilize it, though you can of course do as you wish with the individual tracks. The sequencer is almost as simple as can be; there's a track selector, a Record and a Play/Stop button, a Metronome (allowing you to use any samples you wish as click sounds), and settings for tempo and time signature.
Recorded sequences can be exported to standard MIDI files, as well as wave, mp3, wmv and ogg vorbis files.
All controls are hardwired to standard MIDI CC numbers, allowing you to adjust the volume, the reverb level or the hammer sounds while playing, without having to touch the computer. For some odd reason, though, the programmers have opted to exclude lid, reverb type and velocity curve from the MIDI implementation. That's a bit baffling, as this would otherwise have catered to the more advanced performers.
The VSTi version does not include the sequencer for obvious reasons, but it allows the host application automation access to all parameters - and this time with no exclusions.
The sound.
Pianissimo is, as mentioned, based on a sampled Steinway D. The important thing to take note of here, is that Acoustica does not specifically state that Pianissimo's aim is to sound like a Steinway - only that the sound is based on Steinway samples. This is a good thing, as demanding pianists will know that only a Steinway sounds like a Steinway. It is next to impossible to recreate the experience of playing a real Steinway in software, as there are so many factors shaping the experience you will have as a musician, many of which are out of the programmers hands. Just to mention a few, the programmer has no say in the musicians choice of audio interface, speaker quality and placement, and quality of the controller keys. A common limitation for MIDI based pianos is the sustain pedal, which is a major soundsculpting tool on an acoustic piano, but is restricted to on/off operation in MIDI.
So, when it doesn't necessarily sound exactly like a Steinway, how does it sound? First off, we'll listen to the high keys.
As on an acoustic piano, Pianissimo features damperless action on the top octaves, here starting at the E6. This usually emphasizes the resonant response between the high strings. As the higher pitches are usually lower in volume, it is often easier to hear the mechanics at work when playing it hard. On the other hand, the highs played softly can produce an almost bell like sound; listen here for some high notes:
Alternative content
The mids on an acoustic piano can be a harsh affair when played loudly, but they are also the ones changing the most depending on how hard you strike the keys. I've tried to play some different velocities here, to demonstrate how Pianissimo handles this:
Alternative content
The deep notes on a grand piano are the real test of how well it is build. How closely can you play, without it going all muddy? On a well-built piano, you can play a close triad in the C2 octave, and still be able to hear which chord it is; luckily, the same goes for Pianissimo. Another thing to consider when reviewing Pianissimos deep sounds, is how an acoustic piano very clearly reveals that the strings are made of metal when playing the deep notes very loudly. In the following example, I'll play the deep notes closely, and with different velocities.
Alternative content
It is worth noting, that to get the required results for these examples, I had to set the Sympathetic Resonance and the Hammer Sounds sliders quite a bit up from their default settings. When turned that loud, however, I found the sounds quite impressive. This may be a matter of taste, though, and other users may prefer these sliders set more conservatively.
The quality of the sound of the actual tones must be attributed to the actual samples recorded from the Steinway Grand. Now, it's time to go check out the processing of this thing. This goes for the parts of the sound coming from physical modeling, as well as the effects sounds.
First off in this section, I am going to demonstrate the pedals. In an acoustic piano, when holding the sustain pedal, all strings are left free to vibrate sympathetically with the frequencies from the strings that are actually struck by the hammers. This way, a fuller and richer sound is achieved. I found, that to get the desired effect, I had to turn up the Sympathetic Resonance slider somewhat. Here, you'll get 4 chords, first without, then with the pedal pressed:
Alternative content
Next, the soft pedal, which works by offsetting the hammers slightly to the left, thus making sure that fewer strings are hit pr. note, and also that the strings are hit with a softer, lesser worn part of the filt on the hammer. Same chords again:
Alternative content
It is worth noting that I did not manage to get the soft pedal to respond to incoming MIDI CC data in my old trusty DAW, Logic Platinum 5.5, so I had to click it on and off. It did work as intended in Ableton Live, though, so I feel confident that this has more to do with the age of the last Windows version of Logic than with Pianissimo.
Now for the lid. As mentioned, this can be set to 4 different degrees of open, which of course affects the volume, but also the frequency content of the instrument's sound. Here, the same chords, going through all 4 degrees going from fully open to fully closed:
Alternative content
Finally, the effects. As mentioned previously, these seem to be reserved mostly for the live musician, wanting to adjust the effects with the quick touch of one slider, rather than spending time going through lots of effect parameters. All the same, they do sound pretty nicely, and will certainly serve their purpose in a live situation. First the chorus, set to get first that 80's popballad sound and then the honky-tonk out of tune that is achieved by turning the chorus slider all the way up:
Alternative content
There are 7 different reverb types to choose from. I'll demonstrate 2 of them here, with the volume slider set to 50%. First the Plate reverb, then the Cathedral:
Alternative content
As hinted at earlier, I find these effects to be just fine for quick everyday use, and would have no problem playing for instance a white jacket dinner gig with the effects supplied here. However, for studio production, I'd probably bypass them, and use other, more customizable effect plugins instead.
Real World Usage
Pianissimo has been very light on my computer's processor. Those with the knowledge to read PC specs will testify, that the machine I used to test it out, is far from current (though it was when I bought it, back in 2003), and in fact, it is only just fulfilling the minimum system requirements recommended by Acoustica. Yet, I found no problems running Pianissimo, and had no need to tweak the machine further than it already is. I am convinced, that a machine with specs common for new PCs in 2009 hardly will notice that Pianissimo is running.
I did try Pianissimo on my Macbook Pro too, running Windows XP through Parallels. I didn't manage to get usable results from it, as I had to set latency so high that it was practically non-playable. Yet, I blame this on the memory management of Parallels, and I'm sure that if I had just run Pianissimo on a proper Bootcamp Windows XP installation, I would have had better results.
The Verdict
This is all in all a very satisfactory product. Very easy to use, with relevant features and superb audio quality. The light CPU usage also counts to Pianissimo's benefit.
Pianissimo offers a diverse set of sounds, that still realistically feel like they're coming from the same instrument. I feel right at home with many of the sounds that I have heard while reviewing this, and the few issues that I have mentioned here shouldn't stop anyone from checking it out. Luckily, a 14 day demo is available for download from the Pianissimo website.
Finally, given the very competitive price tag, I believe that anyone looking for a virtual grand piano ought to check out Pianissimo.
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David Mondrup is a trained and experienced pianist, producer and composer, though not necessarily in that order. He makes his outcome mainly by teaching music production, ranging from traditional styles to experimental electronica. He lives with his family and a cat in Århus, Denmark. |