Steinway Model D

Authorized by Steinway & Sons, the Steinway Model D grand piano is a virtual copy of a Steinway D from Hamburg, famous for its exquisite musical expression and being featured in numerous prominent recording studios and concert halls worldwide. Each note has been carefully adjusted in its finest detail, just like in a real factory. The result is a stunningly vivid instrument created with the most demanding musician in mind.

The audio demos below were created using the available presets in Pianoteq 6. No external instruments, effects or audio processing are applied unless noted. To achieve the best possible listening experience, we recommend that you use high quality headphones or loudspeakers with a volume similar to what you hear when standing next to an acoustic piano.

Steinway D grand piano

Workshop showing how to come close to a given sound taken from Jazz music.
Target recording   Midi file Midi file
This is the recording we want to simulate. For copyright reasons, we present here only a short excerpt which is enough for our purpose. Note the beautiful 'singing' quality of the unisons, as well as the nice sustain pedal resonance.
Choosing a preset   FXP FXP
The first thing to do is to select the preset that will serve as starting point. We choose here the D4 Jazz AB preset.
Microphone setting and reverberation   FXP FXP
We start with microphone position. The original recording is (almost) mono. We don't want a 100% mono sound (we want some 'air' when listening with headphones) but we want it to be close to the original, so we choose to put two microphones just a few centimetres/inches away from each other and close to the piano. We select the Small Hall reverberation.
Velocity   FXP FXP
Next, let us adjust velocity, dynamics and volume so that the MIDI file we have at our disposal shows a similar soundscape as the target recording. We don't care here for the difference in performance, we are just trying to catch the atmosphere.
EQ and hammer hardness   FXP FXP
We now adjust equalizer and hammer hardness. We want a crisper sound, so we increase the hammer hardness.
Sympathetic resonances   FXP FXP
The original recording clearly shows a lot of resonances, so we do not hesitate in increasing the sympathetic resonances by a factor 2. Time to notice the resonances in action during the typical repedalling on the two sustained chords at the beginning.
Tuning and hammer noise   FXP FXP
We increase the unison width parameter by a factor 2 to obtain the same 'singing' unisons as we can hear in the original recording. We also increase slightly the direct sound duration and reduce the hammer noise.
Voicing   FXP FXP
We now leave the global settings and work on the final voicing by adjusting a few overtones for a couple of notes, as for example the first note Bb1.

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