Topic: Impedance, CuttOff settings

Hi there,

please, I'd like to ask you what exactly is doing impedance and cutoff settings. I know there is a description in the PQ manual, but I'm still not so sure. What I know, thanks to Glenn's presets, the sound can be very close to the grand one.
What I did is the recording with default C3, K1 and changed K1 impedance and other stuff.
It looks I cannot change impedance for keyboard sections but just for the whole keyboard. Is this because I don't have Pro version ?

Here are the recordings, please, be careful, is it starting with fff. Piece was composed by Czech composer Luboš Fišer. It is 20th century so I think it will not be for everybody :-)

K1 changed impedance - http://www.mediafire.com/file/dnnonjnymjn/Fiser K1Path.mp3
K1 default - http://www.mediafire.com/file/mqjgtdzzren/FiserK1.mp3
C3 default - http://www.mediafire.com/file/tnjnmymhz4z/FiserC3.mp3

Ludek

Re: Impedance, CuttOff settings

Ludek:

Impedance is not the easiest to understand.

An object with high impedance has more resistance to being vibrated or moved.  As a result the energy being imparted to the object will not be transmitted as quickly.

I usually lower the impedance of the upper registers because I personally find that the default settings permit the upper registers to vibrate too long (the sound holds longer than I think a grand piano does).  OR - this may be because of my playing style.

At first Impedance seems counter intuitive - but it's not:

By lowering the impedance of the high notes, the energy is transmitted more quickly from the strings to the soundboard.  Since the same amount of energy is being transmitted, this results in the energy being sent in a shorter period of time, and the notes have a quicker decay.

I believe the impedance (for example) can only be changed note by note in the Pro version.  Fortunately I have this version so I can make my piano sound the way I want.

As an aside to this, I believe that if it was physically possible to make the treble strings longer (and have more sustain), piano makers would have done this.  But to make a string longer and maintain the same pitch would require much higher tension in the string.  There are two problems here - the piano frame would have to be much stronger to resist the forces, and there comes a point where steel simply cannot be made strong enough to withstand the tensile forces.  One might say, "well make the strings thicker", but obviously this fails as thicker strings vibrate at a lower frequency.

There is another property of steel that Joe Felice can explain better than I:  Steel under constant stress exhibits "stress relaxation".  If you tension a steel string (or a strand in pre-stressed concrete), and measure the tension, then after a period of time, measure the tension in the string again, you will find that the tension has dropped - the steel has "relaxed" - it has deformed under the high stress.  In a piano, this would require constant tuning.

The modern grand piano is a miracle of compromises with everything pushed to the limit.

Glenn

__________________________
Procrastination Week has been postponed.  Again.

Re: Impedance, CuttOff settings

And the Cut off slider determines the highest freq that the soundboard can carry. (High freqs, by definition, are from rapidly vibrating portions of the strings and the bridge, so they dissipate their energy quickly. If the soundboard has no or low impedance, they dissipate in the air fast.)

The easiest way to hear the effect of the Cut off:

1. Set the Impedance to 0, all the way to the left.
2. Move the Cut off slider all the way to the right and play a note while then moving the Cut off slider to the left.

But also listen to the effect with the Impedance set to the far right.

The Q factor controls the rate at which the higher freqs are reduced in amplitude. A fast way to hear its effect:

1. Set the Impedance all the way to the right.
2. Set the Cut off all the way to the left.
3. Set the Q factor all the way to the right and play a note.
4. Move the Q factor to the left while playing the same note.

A lot of the overall sound, clearly, comes from the way that you set these three sliders.

And the Direct duration and unisons come into play, since they control, in part, the length of the sound before it moves to the soundboard. It's complex, but only because a piano is complex.