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Message: [QUOTE="Bombastus, post: 91078, member: 2178"] MIDI 1.0 polyphonic key pressure identifies both a pressed note and its changing pressure value after the initial strike. Channel aftertouch sends one pressure value for the entire channel, so leaning into a single key can alter every held note instead. Within a held chord, polyphonic aftertouch can brighten one note, increase its resonance, or move it forward without changing neighboring notes. Whether that feels musical depends on four stages preserving and using the message correctly from sensor to final voice mapping. [HEADING=2]Per-note pressure needs an unbroken signal path[/HEADING] The controller needs a pressure sensor for each key and must transmit polyphonic key pressure because velocity measures only the initial strike. Aftertouch begins once the key has traveled down, while some keyboards offer channel pressure only despite using the broader word aftertouch. Next, the connection and DAW must receive, record, and return the events without converting them into channel pressure. The plugin and preset must recognize and map that message, or notes remain unchanged even when the controller display reacts. Use a MIDI monitor while holding two notes and varying pressure on only one, confirming events carry the correct note number and changing values. If the monitor shows channel pressure, no later mapping inside the downstream piano preset can recover [B]individual key pressure control[/B]. Release the key while pressure is high, then play it again while watching the monitor and listening for a clean reset. The new note should begin without inherited modulation because stuck pressure data can make later notes open already bright or resonant after interrupted playback. Polyphonic aftertouch provides a key-specific pressure message, while MPE can add per-note pitch and another movement dimension through its channel arrangement. A controller, host, or plugin advertising one format may not accept the other automatically, so the exact compatibility label matters. [HEADING=2]Acoustic realism imposes a narrow useful range[/HEADING] An acoustic piano hammer strikes through momentum and then rebounds while the held key keeps its damper raised. Pressing harder after that strike does not deliver another blow because the hammer has already separated and rebounded. A virtual piano that swells dramatically under aftertouch is adding an expressive behavior rather than reproducing ordinary grand-piano mechanics. For a natural preset, keep the mapping restrained and treat aftertouch as supporting control rather than a second strike. Small changes to modeled resonance, mechanical detail, brightness, or spatial level can make one sustained note emerge without turning it into a synthesizer. Large pitch movement, heavy vibrato, or a fresh attack belongs more naturally in a prepared, cinematic, or intentionally transformed piano sound. Create a dead zone above the key's resting pressure so normal finger weight does not animate every chord. Then limit the maximum modulation depth and use a smooth curve across the remaining travel so most pressure remains easy to control. Without that control, hand position can produce unwanted tonal wobble while you simply hold harmony. Map pressure inside the voice, where the chosen note still exists separately, before all notes are mixed. Sending it only to a channel-wide reverb or equalizer changes the entire piano output, defeating the per-note advantage although the incoming controller data remains separate. The usefulness of [B][URL='https://goldmidi.com/community/threads/sound-magic-introduced-neo-piano-chapters-f308.76467/']per-note expression in a virtual piano[/URL][/B] therefore depends on its mapping, not the feature badge alone. Test a held triad by emphasizing its melody note, then shift pressure to an inner voice without restriking either key. A valid piano-specific mapping should reveal the chosen voice while preserving the chord's original attack and overall balance. [HEADING=2]Recording exposes limits hidden during live playing[/HEADING] MIDI 1.0 polyphonic pressure identifies a channel and note number, not a unique note instance. Two overlapping notes of the same pitch on one channel cannot receive independent pressure identities through that message. Repeated-note passages can therefore become ambiguous during legato editing even though different pitches remain separately controllable. Editing can create another failure when a phrase moves later. Some note-expression systems attach pressure data to its note, while traditional controller lanes may leave events at their original time. After shifting a phrase, inspect the pressure events rather than assuming they followed the notes. Record a short test before committing to a full performance. The captured lane should preserve gradual changes, return toward zero when pressure relaxes, and play back the same note-specific movement. Sparse events can sound stepped, while excessive sensor noise creates dense data that is harder to edit and may burden external MIDI links. Save pressure curves and destinations with both the controller and piano preset names. A firm-keybed curve may trigger too easily on a softer sensor, while another piano may route pressure somewhere completely different. Keeping those mappings separate prevents an experimental preset from changing the response of an otherwise realistic grand. [/QUOTE]

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