Pianoteq 6 - Activators Patch -
Pianoteq Pro Crack + License Key For (Win/Mac) Download
Pianoteq Pro Crack can be used both in standalone mode and as an instrument plug-in in VST, AAX, and AudioUnits hosts. What makes the app superior to other virtual instruments is that the instruments are physically modeled and thus can simulate the playability and complex behavior of real acoustic instruments. By omitting the usage of samples, the file size is just a tiny fraction of that offered by other virtual instruments, perfect for use on any modern laptop. Pianoteq Pro Crack standard offers unique powerful tools to enhance and modify the sound, such as changing the unison width, hammer hardness, and string length. You can also place up to 5 virtual microphones around the instrument and load external reverb impulse files. You can also upgrade to the PRO version at any time.
Pianoteq Pro Crack + Keygen For (Win/Mac) Free Download
Pianoteq Pro Crack is also the most advanced version, adapted for the creative composer and demanding studio engineer. In addition to the Standard version, it gives you all the tools needed to work in a truly professional environment, letting you adjust 30 parameters for each note on the keyboard and work with up to Khz audio. Steinway & Sons have also approved the sound and playability of the virtual instruments Steinway Model D and Steinway Model B, which have been gained from the refined physical model. These magnificent virtual grand pianos will also appeal to all musicians in search of the most famous piano sound signature. Some powerful features make it a true choice for on-demand musicians as well as composers, producers, and keyboardists. So many other tools are also available, such as harpsichord, electric piano, vibraphone, history, and more.
Pianoteq Pro Crack Full Version Free Download For Windows
Pianoteq Pro Crack also facilitates your workflow by adding compatibility with the VST3 format and the ARM architecture (Linux version only, for example on Raspberry Pi 3 boards). It also includes chord identification, and the tuning section has become even more advanced with new tools. The standalone version now offers a MIDI playlist, an improved MIDI archive, and the ability to export audio to FLAC and MP3 formats, in addition to WAV. Pianoteq Pro Serial Key mimics the fourth generation of pianos, allowing you to play music by producing high-quality sound effects. Artists who cannot use the piano can use a PC and a specialized software program to generate sound. Although there are many emulators, there are very few identical music and configuration options.
Key Features in Pianoteq Pro Crack:
- Pianoteq is a physically modeled virtual instrument
- Optional instruments for purchase: upright, grand pianos, rock piano, electric pianos, harp, vibraphones, clavinet, celesta+glockenspiel, xylophone+marimba, steelpans
- Free instruments: KIViR historical instruments collection, bells, and carillons.
- Unique adjustable physical parameters, such as unison width, octave stretching, hammer hardness, soundboard, string length, sympathetic resonance, duplex scale resonance.
- Progressive variation of the timbre (uses all the MIDI velocities)
- Control of the dynamics in timbre and volume
- Polyphonic Aftertouch (particularly interesting for the clavichord)
- Realistic sympathetic resonances, including duplex scale
- Microtuning supports Scala format
- Adjustable mechanical noises (sampled or modeled)
- Built-in graphic equalizer
- The built-in graphic curve for key velocity, note-off, and pedal
- Keyboard calibration assistant
- Ten types of pedals (that can be assigned to the four UI pedals): Sustain, Soft, Harmonic, Sostenuto, Super Sostenuto, Rattle, Buff Stop, Celeste, Pinch Harmonic, Glissando
- Progressive sustain pedal, allowing partial-pedal effects
- Convolution reverberations
- Effects: Tremolo, Wah, Chorus, Flanger, Phaser, Fuzz, Delay, Amp, Compressor, Mini-eq.
- Mallet bounce (note repetition)
- Instrument condition (mint to worn)
- Variable lid position
- Five adjustable microphones
- Multi-channel – up to 5 channels
- No quantization noise (bit internal computation)
- Renders high-resolution MIDI formats CC#88 and Disklavier XP.
- Installs and loads in seconds
- Extremely small file size (less than 50 MB)
- Excellent for use on modern laptops
- Extended key range ( keys = 8+2/3 octaves) for the grand pianos Steinway D and K2
- Below you can find few selections of instrument packs. You need a license of the app (Stage, Standard or Pro) to use them.
- Microsoft Windows 10 (bit only), (bit & bit), or 7 SP1 (bit & bit)
- 1 GHz or faster processor
- RAM, bit: 2 GB, bit: 4 GB
- Disk space: GB
- x display resolution with True Color
How to Crack?
- Download and extract the file Pianoteq Pro Crack given below link.
- Also, extract patch files.
- Install the program.
- After the installation process is complete.
- Open the patch folder and copy the patch file.
- Also, run the patch file by right-clicking.
- Then selecting run as administrator.
- Finally, done and enjoy.
Can an 8Mb plug-in really compete with the new generation of multi-Gigabyte sampled grand pianos?
I should say right off the bat that when it comes to pianos, I'm something of a purist. Acoustic piano was my first love, and though I don't own an expensive note model (roll on that modest Lottery win), there's nothing I like better than cutting loose on a freshly tuned, well-maintained, fine-toned concert grand. Conversely, playing a sampled piano is not exactly my favourite pastime. Though the recent crop are a lot more playable than their predecessors, these sample-based instruments often feel a bit lifeless. Their sustained notes and overtones don't interact like those of a real piano, and the complex enriching effect of the sustain pedal is, I believe, impossible to replicate using a fixed menu of samples. I was, therefore, sceptical when an SOS colleague emailed me to sing the praises of Pianoteq.
According to its makers Modartt, Pianoteq is the world's first 'fourth generation' piano, the previous three being represented by acoustic piano (starting with Cristofori's pianoforte in ), electro-acoustic pianos like the Fender Rhodes, and present-day sampled instruments where each note has been separately pre-recorded at different dynamic levels. The company felt that the latter approach fails to take into account the complexity of the instrument, so decided the way forward was to build a digital modelled piano. This endeavour was made possible by Dr Philippe Guillaume, one of those rare Renaissance men whose brilliant ideas occasionally light up the shadowy reaches of the music industry.
Twenty-five years ago, Guillaume pursued a career in piano tuning and restoration. While tuning and voicing pianos for concert pianists, he began to dream about the possibility of digitally controlling every individual overtone within a note, but the limitations of '80s PCs made the idea impractical. Aged 30, Guillaume began to study mathematics, earned the title of doctor and became Director of Mathematics at INSA (Institut National des Sciences Appliquées) In Toulouse. Recently, thanks to the dramatic increase in computer CPU speed, he was able to combine his two areas of expertise and write a mathematical model for an acoustic piano. With the help of software developer Dr Julien Pommier and a team of musicians, Guillaume's equations were transformed into a digital piano which Modartt claim is the first of its kind.
Ninety Grand Piano
Pianoteq runs as a plug-in instrument on PC and Mac (Windows XP/ and Mac OS and up) using any VST or Audio Units host. There is no stand-alone version. The instrument currently offers two on-board piano types, which Modartt cryptically call Grand C1 and Grand M1; though neither is a reproduction of a specific brand of piano, recordings of a Fazioli F (a seven-foot Italian grand retailing at a sickening $90,) were used as part of the analysis for the modelling of Grand C1. Other inspirational sonic references for the modelling include top classical piano recordings and the records of jazz luminaries Bill Evans, Herbie Hancock, Art Tatum and Oscar Peterson. According to Modartt, "When Philippe notices a nice sound on a piano recording, he tries to understand and reproduce it with the model." Although that won't help Pianoteq users play like Bill Evans, it's nice to think that the designer at least had his beautiful piano sound in mind!
I tested Pianoteq on my PC using the VST host Forte, which worked perfectly. The two on-board pianos emulate a fairly close listening perspective, with no apparent room element in the sound. Grand C1 has a soft, somewhat intimate timbre which lends itself well to classical styles, while the model named after England's premier motorway has a slightly more brilliant tone and a bit more 'ping' in the attack. The two models sound broadly similar, but if you're used to playing piano in a band setting, the latter instrument is probably the best starting point. In addition to these two on-board pianos, you can download two historic pianofortes from Modartt's web site (see 'Past Perfect', below, for details). These free add-ons lack the breadth of tone of modern instruments (in fact, one of them sounds like a cross between a harpsichord and a piano in the lower register) but that might come in useful if you're working on one of those historical productions that the BBC seem to churn out every three weeks.
That Was The Tweak That Was
Once you've selected a piano preset, there are many ways to tweak its sound and response. A good place to start is the 'dynamics' slider, which controls the loudness level between pianissimo and fortissimo. Pianoteq 's presets utilise a natural-sounding dynamic range of around 60dB, but you can reduce this for loud rock piano parts and increase it for very expressive, sensitive solo performances. You can also create your own velocity response curve on a cute little control screen which doubles as a MIDI velocity display by showing incoming notes as red vertical lines. When considering such matters, it's also essential to think about the MIDI velocities produced by your keyboard. Some have a 'velocity scaling' setting which can be adjusted to suit your touch, and if your keyboard has this capability it's advisable to experiment with it, to find a setting which produces a reasonably natural-sounding response, before performing edits to the sound source itself.
Hammer Hardness is an equally vital parameter. This controls the tone of the piano's attack by affecting the perceived degree of hardness of the felt on the hammer's striking surface, ranging from ultra-soft (which sounds as though a layer of cotton wool has been inserted between the hammers and strings) to very hard, which gives a very bright 'tack piano' tone. Hammer hardness may be set individually for p, mf and f dynamics, so you could set up a soft-sounding piano that magically acquires an ultra-brilliant timbre at high velocities. A related parameter, hammer noise, controls the amount of 'knock' in the sound. Turn it up to maximum and you'll hear a loud, unmusical wooden thump on every note; remove it altogether and the note attack takes on the pure, non-percussive quality one hears on classical piano recordings made with a more distant miking.
The Piano Size control looked intriguing. Being of a grandiose disposition, I immediately turned it up to maximum, and was pleased when the display told me that my instrument was now 10 metres long (a truly grand grand piano, though a roadie's nightmare). However, what I was hearing didn't actually sound any bigger. It transpired that this control governs virtual string length. Increasing length reduces the amount of natural harmonic overtones in the notes, while decreasing it emphasises them, but the difference in sound is subtle. On an even more subliminal level, the Quadratic Effect slider apparently affects the non-linear harmonic response of hard strokes, whatever that is. Under normal playing conditions it's very hard to discern the effect of either of the above tonal variations, but I found I could hear them at work most clearly on loud, repeated, single bass notes.
Once you've fiddled with these parameters and arrived at a piano sound that suits your taste and touch, you can easily save and recall your patches as FXP (effect preset) files. But before you hit the 'save' button, you might want to take a look at Pianoteq 's excellent on-board reverb and EQ facilities: the reverb offers adjustable room sizes and decay lengths, while the cleverly designed EQ screen allows you to set up anything from a broad treble boost to a complex combination of multi-frequency cuts and boosts. Reverb and EQ settings are saved as part of a patch, and this versatile effects section reinforced my impression that a hell of a lot of thought has gone into making this piano as usable as possible.
One intriguing facet of Pianoteq is its theoretical ability to mimic any piano that its makers train their sights on. This has been put to good use in the KIViR (Keyboard Instruments Virtual Restoration) cultural project, which aims to create digital restorations of old pianos, harpsichords and virginals. Modartt used their Pianoteq technology to create adapted models of old instruments found in museums, and these can now be played by the museums' visitors from a digital keyboard, giving the public the chance to hear these musical rarities without putting strain on their elderly mechanisms. Two such historic pianos are available as free downloads to Pianoteq buyers: an Austrian Schöffstoss instrument from , and an early Schmidt pianoforte dating from (For some reason, the latter's global tuning is set to an alarmingly flat A=, but it's easy to reset the control to A=!) Other pianoforte add-ons are planned, and the project may be extended to include non-stringed instruments.
Pedal To The Metal
When improvising on the piano, one relies instinctively on the sustain pedal for note layering and reverberant washes. As I mentioned earlier, no sampled piano can truly emulate this complex, ever-changing effect. Some companies have tried, by supplying a set of alternative 'pedal down' samples which kick in when the pedal is pressed, a laudable attempt which nevertheless doesn't quite do the trick. Pianoteq 's efforts in this department are an improvement. The difference between a pedalled and non-pedalled note is clearly discernible, the former bringing in a layer of sympathetic overtones which form a subtle 'bloom' around the note. This effect can be exaggerated by turning up the Global Resonance control, which governs the amount of resonance of the undamped strings, soundboard and cabinet. Set to maximum, it produces a beautiful floaty reverb which goes well beyond realism but is inspirational to play with. Another highly realistic touch is that when pressing the sustain pedal, you can hear the characteristic soft 'womph' of the dampers lifting off the strings. That sound can get rather obtrusive, so I was glad to see that there's an option to turn it off altogether.
Other pedal options include a soft 'una corda' pedal with variable softness, a 'staccato-sustain' pedal which adds undamped string resonance to staccato notes without causing the played notes to ring indefinitely, and a 'selective sustain' pedal. Sometimes found on posh grands, this last acts as a latching sustain pedal on any notes currently held down when it's depressed, allowing you to let (say) a chord go on ringing while leaving both hands free to play subsequent notes undamped. Each of the four pedals has its own designated MIDI control.
If you want to take Pianoteq in a more synthetic direction, try experimenting with the mysteriously named Impedance parameter, which controls sustain length; the maximum setting creates unnaturally elongated, reverberant-sounding sustains, while short settings produce a more staccato effect. At its most extreme, the latter sounds like the dead thunks and clonks of John Cage's prepared piano. The Cutoff and Q Factor settings don't perform their normal synth filter functions; instead both affect the decay rate of high frequencies, and at high settings can impart a plucked-string sound to the attack, or even transform the piano sound into an attractive, synth-like, muted Clavinet timbre.
Spectrum Profile looks like a graphic equaliser but actually functions more like a set of Hammond organ drawbars, with each of the eight controls representing an individual harmonic within the overall sound. By removing some harmonics and exaggerating others, I found it possible to produce a wide range of interesting timbres, and in combination with the Cutoff and Q Factor controls I was able to warp Pianoteq 's sound into an array of virtual plucked instruments resembling a harp, virginal, nylon guitar and lute. Not a bad set of impressions for a digital piano!
On the technical front, Modartt claim that Pianoteq offers voice polyphony (which is more voices than most rock musicians ever need). To test their claim, I considered hiring 25 other keyboard players and a octave MIDI keyboard — if each volunteer played 10 notes it would be theoretically possible to generate a combined voice chord, but it would be hard to tell if all the notes were sounding over all the laughter. Instead, I set Pianoteq 's polyphony to 64, pressed the sustain pedal down and arpeggiated away to my heart's content: I heard no glitches, no note robbing and best of all, I was able to set my soundcard's latency to its lowest setting (64 samples, equating to one millisecond at kHz) with no ill effects whatever, something I have never been able to do before with any virtual instrument or sampler.
The only two technical criticisms I can muster are as follows: the instrument's MIDI receive channels are displayed as rather than , a pretty insignificant mini-blooper which one hopes will be corrected in an upgrade. Less easy to ignore is the fact that having apparently successfully activated the instrument on-line by typing its serial number, I found that Pianoteq then refused to open unless my computer was connected to the Internet. It turned out that the on-line activation procedure requires drivers for a network interface to be installed, a requirement which my machine appeared to fail. Most of us would prefer to avoid such thoroughly non-musical issues, so to avoid giving some users an unnecessary headache, I'd advise Modartt to reconsider their activation procedure.
Stretching A Point
Piano tuners occasionally employ 'stretch tuning'. The idea behind this is to make the piano sound a little sweeter (and, some say, more apparently in tune) by incrementally sharpening the upper octaves and flattening the lower ones by a small degree, resulting in a 'stretched' range from the bottom note to the top. (The effect is most pronounced at the top end.) Pianoteq 's 'octave stretching' control allows you to set the amount of stretch: a zero setting produces equal temperament, while the maximum setting makes the top notes sound noticeably sharp. A medium setting imparts some apparent 'brightness' of intonation to the high end without making it sound badly out of tune, but if you layer a stretch-tuned Pianoteq with other instruments, you're likely to notice a nasty tuning discrepancy in the top two octaves.
A second tuning control governs the degree of unison tuning of the piano's virtual strings. Most piano notes have three strings which are hit simultaneously by one hammer, and when the three are out of tune they produce the characteristic 'honky tonk' pub piano sound. Pianoteq offers a 'unison width' setting which ranges from zero to 20, with an extremely lifelike honky tonk effect kicking in at around six. Interestingly, most of the main presets use a setting of just over one, and reducing that figure to zero makes the individual notes sound somewhat less lively. This seems to indicate that when it comes to piano tuning, a percent perfect unison between the three strings may not necessarily be desirable. Having said that, we are talking about extremely subtle differences that will tend to go unnoticed in most listening situations!
Modelled Vs Sampled
I compared Pianoteq to one of the best of the recent crop of sampled grands, and the difference was pretty dramatic. Both pianos sounded fine on simple pop/rock styles, handling big stately chords, slow melodies, octave bass lines and fast repeated chords with aplomb. But when it came to expressive improvised music, Pianoteq was much more playable — its notes sounded more connected than those of the sampled instrument, giving fast runs and phrases something of the silvery cohesion of a real piano. The lack of discernible latency was also a huge plus. The only minor disadvantage of Pianoteq was that its tone arguably lacks a little overall sparkle, but that's easy to remedy with the on-board EQ.
It could be argued that Pianoteq lacks features offered by certain sample-based piano titles, some of which contain more than one make of piano or alternative microphone positions. One even features a grand piano recorded in surround! Modartt have not gone down this road, concentrating instead on producing a very accurate stereo modelled grand with a huge range of user-adjustable parameters. On the question of emulating different makes of piano, I see no reason why their ingenious modelling procedure could not be adapted to emulate the sound of (say) a Steinway, a Yamaha or a Bosendorfer grand. In fact, the company are already working on a couple of new pianos, though neither of them are based on the well-known makes I mentioned.
Most keyboardists need a decent piano sound, and few of us can achieve it by rolling into a piano showroom and thrusting a holdall full of £50 notes at the manager. For studio musicians, composers, arrangers, programmers and even gigging keyboardists prepared to take their chances with an on-stage laptop, Pianoteq offers an affordable and creditable solution to the age-old digital piano problem. Although it can't take the place of an acoustic grand (no electronic simulation ever will), it brings the sound and touch of the real thing within closer reach. As ever, writing about piano sound is a subjective business, but in this case you don't have to take my word for it. Download a demo version of Pianoteq from Modartt's site and try it for yourself!
- An impressive-sounding, highly playable piano for less than £
- You can subtly (or unsubtly) tweak many tonal and performance parameters to suit your touch and taste.
- Extremely low latency coupled with voice polyphony.
- Consumes negligible disk space and RAM.
- The on-line activation procedure requires drivers for a network interface card to be installed.
- There's no stand-alone version.
- Er — that's it.
A digital piano with built-in reverb which uses no samples, takes next to no time to download, sounds very convincing and costs less than a ticket for a Chelsea home match. (OK, I may have exaggerated slightly on the last point.) What are you waiting for?
Buy PDF version
Y'all can I get an amen for Friday? I was so stinkin' excited when rolled around and I skipped out of the school. Well, drug my almost lifeless body to the car is more like it.
Popping in to visit today and share a post that I wrote about hibernation and Groundhog's Day last January. What a fun time to teach small humans, right? This recycled post has a FREEBIEfor you and some cool ideas to try in the classroom next week all with little prep and maybe just a quick trip to the grocery store! Check out the pictures and click any of them to take you to the blog post to grab your freebie! Hope you will all have a FABULOUS weekend!
«Getting started: installing software and drivers»
What software do I need to get started?
Pianoteq 7 works in Windows 7 (bit) or higher, MacOS X or higher and Linux (x86, arm). Besides a standalone version, Pianoteq includes bit VST (PC/Mac), Audio Units (Mac) and AAX plug-ins. The advantage of a plug-in is that you can work with it in a software host that offers multitrack mode, external effects and advanced note editing. Examples of hosts (non exhaustive list): Cubase, Cakewalk, Logic, GarageBand, Reaper, Cantabile. For further information on how to use these type of hosts, please visit their websites.
Any specific software drivers that I need to have installed?
If you use a PC, you will need to install ASIO drivers. This makes it possible to play back in real time from a keyboard, so that when you press a key on the keyboard, the sound will be heard immediately (with just a few milliseconds delay). Usually, ASIO drivers will be installed automatically during the driver installation of the soundcard. However, some budget soundcards (usually internal ones) do not offer ASIO drivers. It is then possible to use third-party ASIO drivers, such as ASIO4ALL, with various results.
Where do I install the instruments to my full version of Pianoteq?
If you are installing any of the free instruments, you can drag and drop the PTQ file onto the Pianoteq interface. It will then be installed automatically. Other instruments are already installed as they are embedded as demo instruments in the Preset menu. You can unlock each of these instruments by registering the corresponding serial number in the user area and updating your licence (Options - About - Update licence).
Can I load Pianoteq 7 in Pro Tools?
Pianoteq 7 offers a bit AAX version (for loading in Pro Tools 11 or later). You might be able to load Pianoteq 7 in Pro Tools 10 by using Blue Cat's PatchWork or DDMF's Metaplugin.
Can I use Pianoteq 7 in Windows 95/98/ME//XP/Vista or MacOS X ?
No. Previous versions of Pianoteq can be downloaded from the user area and may support older operating systems. Pianoteq works in Windows XP. Pianoteq works in MacOS
I lost the installation file that I downloaded after purchase. How do I download again?
Download again from the user area.
How do I install Pianoteq on Raspberry Pi?
You can find instructions in README_shopzoro.us in the Linux 7z archive of Pianoteq 7, along with the ARM and Intel binaries. A more in-depth instruction by Edgar Bustamante is available here and a forum thread here.
Is Pianoteq 7 compatible with macOS 11 (Big Sur)?
Should I uninstall the trial version before installing the full version?
It is not necessary to uninstall it. If you are using the trial version in your projects, it might be a good idea to keep it for a while, side by side with the full version, for transition purposes. Before uninstalling, you should first create a backup of your customized presets and archived midi files.
Can I load Pianoteq 7 in Logic?
Yes. Pianoteq 7 is compatible with Logic Pro and later. Older versions of Pianoteq can be loaded in older versions of Logic.
How to Check Your Software Version
While holding Global Settings, press OS Version (in column 16). The version number will appear in the display.
How to Update Your LinnStrument Software
- Download the LinnStrument Software Updater using the links below under "LinnStrument Software Version History'. If necessary, double-click on the LinnStrument Firmware folder to uncompress the file.
- Mac users only: Download the installer file and double-click it to install the Updater app.
- Windows Users only: You will need to manually install the LinnStrument Updater's Driver for Windows:
1) Navigate to the LinnStrument Firmware folder you just un-compressed, and open the LinnStrument Driver folder.
2) Double-click dpinst-xexe (for bit Windows) or dpinst-xex (for bit Windows) to begin installing the LinnStrument Windows Driver for the updater.
3) Follow the on-screen instructions for installing the LinnStrument Windows driver.
4) Navigate to the LinnStrument Firmware folder.
- Disconnect other USB devices from your computer, then use a USB cable of 10 feet or less to connect your LinnStrument directly to your computer, not through a USB hub.
- On your LinnStrument, turn on 'Global Settings > Actions column > OS UPDATE'. (Briefly press it to turn the button's light on. Do not hold it.) You're now ready to update your LinnStrument. DON'T DISCONNECT POWER DURING THE UPDATE.
- Double-click the LinnStrument Updater app to open it.
- In the LinnStrument Updater app, Click 'Update Firmware' then 'Go Ahead'. (If the 'Update Firmware' button is not clickable, recheck the above steps.) Your LinnStrument is now being updated, which will take about minutes.
(If you're having problems updating, search the LinnStrument FAQ page, "Problems" tab, for "LinnStrument will not accept an OS Update from the LinnStrument Updater app. What's wrong?")
- To confirm that the update was successful, check your LinnStrument's version number as explained at the top of this page.
LinnStrument Software Version History
(May 27, Current version)
- Custom Light Patterns
You can now create your own custom light patterns for LinnStrument’s note lights, independently setting each note pad to any of 10 colors or off. You can create 3 different custom light patterns, and they remain stored after turning power off.
The Scale Select feature (in Global Settings, column 1) is now used to also select or create the custom light patterns. Until now, there were 12 Scale Select memories, named C through B. (These are merely identifiers, using the 12 printed labels printed below the buttons, with no relation to the musical keys C though B.) The first 9 memories (C through G#) work exactly as before and as described in the Panel Settings page. The upper 3 Scale Select memories (A, A# and B) are now changed to hold the 3 new custom light patterns.
Note: when you update to version software, any scales you had previously entered into Scale Select memories A, A# or B will be deleted.
Here's how the custom light patterns feature works:
To display one of the 3 custom light patterns, enter Global Settings then:
1) In column 1 (“View”), press Scale Select.
2) In columns 2 through 4, briefly press Scale Select button A, A# or B. By default, Scale Select “A” contains traditional guitar neck dots. Scale Select “A#” is a C major scale with a different color for each scale note. And Scale Select “B” is blank.
3) Press Global Settings to turn it off. Your selected light pattern will appear.
To Edit one of the 3 custom light patterns, enter Global Settings then:
1) In column 1 (“View”), press Scale Select.
2) In columns 2 through 4, HOLD Scale Select memory A, A# or B. You have now entered the light editor screen and the existing contents of the selected memory will appear.
3) To set the color of a pad: repeatedly press the blinking Switch 1 button until it shows your desired color, rotating through the 10 available colors. Then press any note pad to change it to that color.
4) To erase any note pad: hold it.
5) To erase many note pads: press 2 pads that are 2 corners of a rectangle that includes the pads to be erased.
6) To save your changes and exit the editor: press Global Settings to turn it off and return to the normal performance lights.
Note: these 3 custom light patterns are not part of the 6 All Settings presets in the Presets screen, so they are unaffected by loading or saving any of the All Settings presets.
Note: the custom light patterns always use the entire playing surface, even if Split is on. However if Split is on, playing the note pads will still work the same-- divided into left and right splits.
As before, you can still load a light pattern from MIDI by sending MIDI CCs 20, 21 and 22 to LinnStrument, as described in the Panel Settings page, Global Settings tab, Note Lights section, “Setting the note lights remotely via MIDI messages” subsection. As before, any received messages will add to whatever light pattern is displayed. If you wish to save your loaded pattern, load it while the above light editor screen is showing, then exit Global Settings to save it. Also, two more MIDI CC numbers are now accepted by LinnStrument:
CC Save loaded light pattern to flash.
After sending a new light pattern to LinnStrument, send a CC23 message with value 0, 1 or 2 to save it to Scale Select memory A, A# or B, respectively.
CC Clear custom light pattern from flash.
Send a CC24 message with value 0, 1 or 2 to clear Scale Select pattern A, A# or B, respectively.
(January 1, )
- Touch sensitivity of LinnStrument was slightly less than that of the large LinnStrument model. They are now the same.
- The range of the Touch Sensor Prescale parameter in Global Settings (which could adjust the output of the touch sensor) has been increased from the former %, to the new %, permitting the option to increase sensitivity to very light touches even more than before.
Warning: settings above might cause notes within chords to trigger falsely, decrease velocity accuracy, or produce maximum velocity or pressure values with only medium playing force.
- When using the “MPE” shortcut to set all MIDI settings for MPE play (in Per-Split Settings > MIDI mode column, hold ChPerNt), Bend Range was formerly set to It is now set to 48, the standard for MPE synths. Also, our downloadable file of LinnStrument sounds for Apple's Logic and MainStage has been updated for an MPE Bend Range of 48 instead of the former
- There was a brief delay after a note pad was physically released before sending the Note Off message. It is now much shorter. Thanks to Connor Golden for implementing this fix.
- In the Step Sequencer, muting the sequence of the split that was not selected would mute its sequence but not turn on the Mute button’s light. Fixed.
- In the Step Sequencer, if a sequence was set to Drums mode, transposing the sequence would transpose the drum note numbers, which makes no musical sense. Fixed.
- In the Step Sequencer, if transposing a sequence down such that the transposed note numbers would go below 0, this would cause an “underflow” error, resulting in high note numbers of and below. (For example, note number 6 transposed down 8 semitones would result in note number ) Fixed.
- If sending an NRPN message to LinnStrument to set colors, magenta would be selected regardless of the value sent. Fixed. And if sending an NRPN message to to set any of the Per-Split Settings, the Per-Setting Settings indicator lights would change but not the internal value. Fixed.
(October 1, )
(NOTE to coders: The version OS update is contained in these Updater apps. However, if a file ending in ".bin" is located in the same directory, the Updater app will assume it is a LinnStrument OS file and load it instead. So it's best to put the Updater app in a directory that contains no other .bin file, of in a separate directory if you're not sure.)
- After , the Global Settings LED would no longer blink 1/4 notes in sync to received MIDI Clock. Fixed.
- When playing the Step Sequencer from internal tempo by pressing the Play (Switch 2) button, the Global Settings LED's tempo blinking was not in correct sync to the playing tempo. Fixed.
- In version a new feature was added, "Permit reading of any panel setting from MIDI NRPN messages", but when reading NRPN (the 6 All Settings" memories), only the 4 memories of version could be read. Fixed.
To install any of the previous versions (below) on Mac OS Mojave, you must use the version Updater app (above) but place the ".bin" file from the Mac download (below) in the same folder as the new Updater app.
(July 25, )
- Independent Row Tunings
The tuning for each row can now be independently set. In Global Settings > Row Offset, hold GUITAR to view the Row Tuning screen. Select one of the 8 rows at left, then edit that’s row’s note number by swiping left or right.
- Common MPE messages sent over all channels
In Channel Per Note mode, LinnStrument normally sends messages that are common to all touches (like Sustain Pedal or Program Change) over the Main channel. However, many synths implement MPE (Channel Per Note) without such a separate Main channel. For such synths, it is now possible to send these common messages redundantly over all Per Note channels.
To do this, in Per-Split Settings set MIDI Mode to Channel Per Note. Then while View (column 2) is set to Main Channel, press the selected channel button in columns to deselect it. Now all common messages will be send redundantly over all Per Note channels.
- New Foot/Panel Switch options:
1) “CLK”: Start/Stop sending MIDI Clock
2) “MUTE”: In the Step Sequencer, toggle the Mute status of the selected split’s sequence.
To select either of these, in Global Settings > Assign Switch, hold TAP TEMPO then swipe to select the desired option.
- Permit reading of any panel setting from MIDI NRPN messages
It is now possible to remotely read the status of any of LinnStrument’s settings from MIDI. To do so, send the number of the parameter that you want to read to NRPN , then the value will be sent back through the parameter's NRPN number. This is useful, for example, in creating a computer application for non-sighted users.
- MPE remote activation (MIDI RPN 6) is now supported
This is the new official method of remotely setting a synth to MPE mode, or letting a synth remotely set LinnStrument to MPE mode. Now, when MPE mode is selected in LinnStrument by holding the Channel Per Note button, an RPN 6 message is sent. And if an RPN 6 message is received, LinnStrument enables Channel Per Note (MPE) mode.
- Virtual third foot switch
A virtual third foot switch has been added, actuated by pressing both left and right foot switches together. To assign it, in Global Settings > Select Switch column, press both FOOT L and FOOT R together, then select an assignment in the Assign Switch columns. If an assignment is made, then the actions of the Left or Right Foot Switches will occur when releasing the foot switch instead when pressing it. To remove the assignment for the virtual third foot switch, press its selection to deselect it
- All Settings memories increased from 4 to 6
The number of All Settings presets (on the right of the Presets screen) has been increased from 4 to 6. The contents of the previous four presets are in the same locations as before, with the two new presets added below them.
- If Per-Split Settings > Pitch/x column > On is turned off, a Pitch Bend message with a value of zero is no longer sent before Note On.
- When using the Step Sequencer, if syncing to a sync source that didn’t send Song Position Pointer messages, LinnStrument’s sequencer would not start immediately in response to received Start messages. This is now fixed.
- In the Step Sequencer, the colors used in the 4 note data sliders are reversed so that the Accent color now reflects the slider’s value, and the Main color indicates the unused portion of the slider.
- In the Step Sequencer, when a note is selected (blinking), the blink rate is now synced to the playing tempo.
- In the Step Sequencer screen, the Mute setting can now be remotely set via MIDI NRPN messages, as described in the the file shopzoro.us in the source code.
- In the Step Sequencer, a variety of minor improvements have been made to the user interface.
- In earlier software versions, a bug existed that could result in the upper one or two note pads in columns 4 and/or 5 to be disabled. We thought we had fixed this in version but didn’t. It is now fixed.
- In the Preset screen, pressing RIGHT SPLIT was sometimes ignored. This is fixed.
- In the Step Sequencer, touching any of the 4 Note Data sliders to view its status could alter the value. This is fixed.
(May 5, )
- New Feature: You can now turn on light animations that surround and emanate from the played note pads, responding to velocity and pressure. In Per-Split Settings > Color column, hold PLAYED. Swipe L/R to select one of the following options:
Cell (only lights pressed cell)
Same (lights notes of same pitch on other rows, as in previous software versions)
Sparkles (Roger's favorite, because its shorter duration is less distracting from the note lights. Try it in white.)
- New Feature: additional Panel/Foot Switch options have been added. In Global Settings > Assign Switch, hold Tap Tempo then swiping L/R to select one of the following options, independent for the 4 switches:
TAP: Tap Tempo.
LEG: Legato. While switch is on, notes or chords are sustained after release until the next note or chord is played.
LAT: Arpeggiator latch. While switch is on, each pressed & released note will be added to the arpeggiated chord.
PR+: Preset +. The Preset number shown in Preset screen is incremented.
PR-: Preset -. The Preset number shown in Preset screen is decremented.
PCH: Pitch slide on/off. Reverses the selected state of Per-Split Settings > Pitch/X column > On. This is useful, for example, to quickly switch between smooth pitch slides and semitone slides as on a guitar.
Plus the following 3 only for the Foot switches:
PLAY: Start or Stop the internal step sequencer. This can also be controlled by MIDI NRPN messages.
PREV: Previous Sequence, of the 4 sequences in the Step Sequencer. This can also be controlled by MIDI NRPN messages.
NEXT: Next Sequence, of the 4 sequences in the Step Sequencer. This can also be controlled by MIDI NRPN messages.
- New Feature: added support for negative row offsets and inverted guitar tuning.
In Global Settings > Row Offset columns, you could previously hold OCTAVE then swipe L/R to select any row offset from 0 to Now the options include to -1 and -GUI (inverted GuItar tuning).
- New Feature: Mirrored split pitch direction. Previously, turning on Left-Handed Mode (Global Settings > Column 1, 4th note pad from bottom) would reverse the pitch direction (R to L instead of L to R). Now you can reverse the pitch direction for one split only, permitting mirrored split tunings.
In Global Settings > column 1 > hold the 4th note pad from the bottom and Swipe L/R to select one of 3 options:
1) REV: reverse pitch direction of both splits (same as previous versions).
2) REVL: reverse pitch direction of left split only.
3) REVR: reverse pitch direction of right split only.
Note that you must turn on the note pad (col 1, row 4) for the selected pitch reversal to be on.
- New Feature: The Step Sequencer now responds to MIDI Song Position Pointer messages, thereby maintaining correct sync position if the external DAW is started from a position in the song other than the start.
- New Feature: in Assign Switches, permit SUSTAIN and CC65 to be reassigned to any CC, and independently for the 4 switches.
In Global Settings > Assign Switch columns, hold SUSTAIN or CC Swipe L/R to select option.
- New Feature: For Low Row's CC1 and XYZ= options, as well as for the CC Fader options, you can now select Channel Pressure in addition to the CCs
In Per-Split Settings > Low Row columns, hold either CC1 or XYZ=, then swipe all the way to the right.
In Per-Split Settings > Special column, hold either CC FADERS, then swipe all the way to the right.
- New Feature: added support for a configurable start value for the CC value sent when Per-Split Settings > Timbre/Y column > Relative is turned on. Previously it was always Now it can be any value from 0 to For example, if using Y-axis to add a modulation amount, this now permits the value at first press to be zero, then increased by tilting your finger forward.
In Per-Split Settings > Timbre/Y column, hold Relative. Swipe L/R to adjust value.
- New Feature: Channel Per Row mode's channel order can now be reversed, permitting for example the highest row to send on channel one and lowest on channel 8. This is useful when using some guitar synthesizers that prefer the high E string to use channel 1 and the low E string to use channel 6.
In Per-Split Settings > MIDI Mode column, hold ChPerRow. It will light in the accent color to indicate reversed channel order.
- New Feature: Previously, if the Arpeggiator was on and LinnStrument was synced to an external source, the Global Settings button would blink 1/4 notes. Now it also blinks if Arpeggiator is on and using internal tempo. This helps by showing you the Arpeggiator tempo before you start playing.
- Improvement: Previously if using One Channel mode and you played two note pads of the same pitch, releasing one of them would terminate both notes, because MIDI only permits one note of the same pitch per channel. Now the heard note is terminated only after releasing both note pads.
- Improvement: When synced to external MIDI clock, LinnStrument no longer also sends MIDI click. This prevents MIDI clock loops with external DAWs.
- Improvement: Incoming MIDI handling and response to external MIDI clock are now more reliable.
- Improvement: The 4 All-Settings Presets (on the right side of the Preset screen) now store and recall the status of the Split button, as well as which split is current selected.
- Improvement: When changing the MIDI Mode (in Per-Split settings), zero values are sent for the X, Y and Z messages, thereby preventing the external synth from adding the last-sent One Channel and Channel Per Note values.
- Improvement: the fourth/highest "All Settings" preset (on the right side of the Preset screen) is now configured by default for playing auto drumbeats on the left split and auto bass lines on the right split, as shown in the LinnStrument Introduction video at
- Improvement: the entered tempo value is now saved after disconnecting and reconnecting power.
- Bug Fix: A rare bug existed in version and later that causes the upper 2 note pads in columns 4 and 5 to stop working. This was due to a bug that caused the calibration values for these pads to be corrupted. We believe we fixed the cause of the bug but in case it happens in future and you notice that these 4 notes pads aren't working, simply remove and reconnect power to make them work again.
- Bug fix: the sequencer's Event Edit sliders (lower right of sequencer screen) would sometimes not return from the numeric display when a touch was released. Now fixed.
- Bug Fix: Previously, there were small inconsistencies in quantized pitch bend ranges. This is now corrected.
- Bug Fix: Previously, if Split was on, and a panel switch was assigned to Arpeggiator, is was sometimes impossible to turn the Arpeggiator on/off using the panel switch. This is fixed.
(December 12, )
New setting "Touch Sensor Prescale" permits adjusting the touch sensitivity over a wide range to better fit your personal playing style, so that the 3 fixed settings (low, medium, high) will be more useful to you. In Global Settings, hold Calibration while pressing Pressure Sens > Medium. Swipe left or right to adjust from 50 (most force required to produce velocity/pressure value of ) to (least force required to produce velocity/pressure value of ). This does not affect very light touches, which always respond to the lowest possible force. The default value for LinnStrument (large model) is 60 and for LinnStrument is 75 (to produce the same touch sensitivity).
- Strum mode (Per-Split Settings > Special column > Strum) improved to be more guitar-like:
- Only highest note on row (string) is recognized
- Hammer-ons and pull-offs can now be performed
- Fingered notes do not sound until strummed.
- Strumming area is much more sensitive to touch
- New Sleep animation: Snow Falling on Christmas trees. In Global Settings, hold Sleep (column 15, row 3) and swipe right to show “XMS”. Then swipe down to set delay before sleep animation starts.
- Split on/off status is now remembered after power off/on. After changing Split status, press Per-Split Settings or Global Settings once to save it.
- Default USB MIDI data rate (hold Global Settings > USB) is slightly slower () to avoid overloading slower computers or synths.
- Bug fix: Sometimes when syncing the Sequencer or Arpeggiator to external MIDI clock, the internal tempo would jump to very fast setting. Fixed.
(November 6, )
- Bug fix: Sometimes, pressing the bottom or top of a cell would not always send a Y-axis value at the start. This is fixed.
- Bug fix: If the pressure was very soft, Quantize Hold would sometimes not correct the pitch as it should. This is fixed.
- Bug fix: The lights of the control switches would sometimes be lit incorrectly when a sequencer is active. This is fixed.
- Bug fix: The new colors white, orange, lime and pink could not be set using over MIDI messages CC This is fixed.
(October 27, )
- Feature: Added polyphonic step sequencer for each split. See new Sequencer tab in the Panel Settings page:
shopzoro.us (See top of page for information on panel labels with Sequencer parameters.)
- Improvement: Significantly better velocity response, range and consistency, tuned for piano play with PianoTeq.
- Feature: Release velocity now supported in Note Off messages. LinnStrument is now “5D” in ROLI-speak. :)
- Feature: Four new LED colors: white, orange, lime and pink. Note that for these four new colors, if you move your eyes quickly across the playing surface, you will briefly see the individual RGB colors that comprise the combined color.
- Feature: Support for bit Loudness CC values. In Per-Split Settings > Loudness/Z column:
1) Hold “On” for large character display. Swipe down three times then swipe right to select “14 Bit”.
2) Hold “CC11” for large charger display. Select any CC from 0 to LSB data will be sent on the CC number that is 32 higher than the selected CC. For example, select CC11 to send MSB on CC11 and LSB on CC
- Feature: Added support for using the DIN MIDI OUT jack as a MIDI THRU jack. In Global Settngs > MIDI/POWER column ("MIDI I/O" on older units), hold “MIDI JACKS”. Swipe right to select “THRU”. Now the DIN MIDI OUT jack will both send MIDI OUT data and also echo received MIDI IN data.
- Feature: Tap tempo has been added as a new option in the Assign Switch options, located above Octave Up.
- Improvement: Before when a note was played with Quantize on, the tuning would slide to the quantized pitch on initial touch. It now immediately jumps to the quantized pitch.
- Improvement: Removed occasional flicker when switching between LED displays.
- Improvement: The timing of send USB MIDI messages has been optimized so that slower hardware synthesizers are less likely to misinterpret some of LinnStrument’s sent MIDI messages.
- Improvement: The last-loaded "All Settings" preset is now remembered after rebooting.
- Bug fix: If a MIDI "Pitch Bend Sensitivity” RPN message was received, LinnStrument responded by setting the Bend Range incorrectly. Fixed.
- Bug fix: Updater application would sometimes not work correctly on Windows and MacOS Sierra. Fixed.
- Bug fix: The data sent through updater application could be corrupted with slower computers or certain USB connections. Fixed.
(June 9, )
- Bug fix: some LEDs could sometimes flash brightly when exiting Per-Split Settings, Global Settings, and Octave/Transpose, and at the end of a OS update. Fixed.
- Bug fix: when a note was released, a MIDI pressure message of zero value was sent after the Note Off message. It should have been sent before the Note Off. Fixed.
- Bug fix: it is possible to start LinnStrument in Low Power mode by holding Octave/Transpose while connecting power, useful when first connecting to an iDevice. Previously, if Update OS mode was on when this was done, Update OS mode mode would not be automatically turned off. Fixed.
- Bug fix: sometimes a MIDI message could be sent with a slight time delay between its individual bytes, causing some receiving devices (particularly Linux systems) to misinterpret the first part of the message as incomplete. Fixed.
- Bug Fix: in low power mode, Polyphonic Pressure with a value of zero would not be sent. Fixed.
- Bug Fix: Switch 1 and Switch 2 would sometimes light after returning from sleep. Fixed.
- Bug Fix: if Sleep mode was set to enter sleep after a period of inactivity, it was possible to enter Sleep even while holding a note for a very long time because the delay timer didn't recognize Note Off messages. Fixed.
- Bug fix: when holding the Octave/Transpose switch to enable low power mode at startup, the Octave/Transpose page was shown instead of the normal Performance Mode lights. Fixed.
(First release, Oct 10, )
Pianoteq STAGE Crack With Activator
Pianoteq चरण में विकसित एक सॉफ्टवेयर अनुप्रयोग है विशेष रूप से संगीतकारों के लिए, इतना है कि वे कर सकते हैं खेलने के लिए और रिकॉर्ड विशेष रूप से रचनाओं पर एक आभासी पियानो है ।
स्थापना प्रक्रिया चिकनी है और लाता है के लिए आप एक आधुनिक और सहज ज्ञान युक्त इंटरफेस है, जो सक्षम बनाता है आप आसानी से काम के साथ, की परवाह किए बिना अपने अनुभव के स्तर के साथ कंप्यूटर. यह encloses एक इंटरैक्टिव छवि के एक पियानो, एक कुछ अन्य बटन और एक मेनू पट्टी है, इसलिए है कि आप जल्दी से उपयोग कर सकते हैं सभी कार्यों को उपलब्ध है ।
जब पहली बार शुरू करने के उपकरण के साथ, आप कर रहे हैं स्थापित करने के लिए आवश्यक ऑडियो डिवाइस प्रकार, उत्पादन, नमूना दर और बफर आकार, अभी तक आप हमेशा वापस आ सकते हैं करने के लिए इस पैनल और टिंकर के साथ उपलब्ध मापदंडों.
इस कार्यक्रम में भी शामिल की एक लंबी सूची presets का उपयोग कर सकते हैं, से एक D4 शास्त्रीय AB करने के लिए एक Rhody R2 किरकिरा 1, ट्यूबलर घंटी मूल या Spacedrum – प्राकृतिक, या आप भी कर सकते हैं लोड दूसरों से FXP फाइल है.
मात्रा, गतिशीलता और पैमाना नियंत्रित किया जा सकता है, के रूप में अच्छी तरह के रूप में वेग, नोट बंद, पेडल और aftertouch है । आप कर सकते हैं के रूप में प्रभाव जोड़ें देरी, कोरस, amp या विभिन्न प्रकार की गूंज.
यह संभव है का उपयोग करने के लिए एक तुल्यकारक और आप रिकॉर्ड कर सकते हैं अपनी परियोजनाओं, उन्हें खेलने के लिए या यहां तक कि उन्हें बचाने के लिए हार्ड ड्राइव करने के लिए, में एक मध्य स्वरूप है । लगभग सभी कार्यों के लिए एक कुंजीपटल शॉर्टकट है, अभी तक आपको पता होना चाहिए कि वे परिवर्तन के अधीन हैं.
व्यापक सहायता सामग्री प्रदान की जाती हैं और की सुविधा नहीं बोझ अपने कंप्यूटर के प्रदर्शन.
में निष्कर्ष है, Pianoteq चरण में एक अच्छा विकल्प है कि संगीतकारों के लिए ही नहीं है, एक पियानो, और एक अच्छी प्रतिक्रिया समय, बहुत सारे विकल्प tweak करने के लिए और उच्च गुणवत्ता का परिणाम है.