I’m not in front of my computer at the monment so I might get some of the details wrong. Anyway, here’s a little report:
I used the Bösendorfer, as I regarded this is the best starting point. The Steinway is much more open in the top, which is nice for a lot of things, I guess, but not for what I aimed for this time.
I turned off TG’s built in reverb and EQ. Honestly, I couldn’t hear any difference between Player and Close view and ended up using Close (me think).
I now found this video that describes the technique I used: Parallel Compression | New York Compression in Cubase 6.5 | Tutorial - YouTube
In addition to what’s shown in the video, I used a second group channel to which I sent the output of both the dry TG3 and the compressed signal, enabling me to control the overall volume sent to the main stereo out with one fader. On this “summing” channel I added the send reverbs.
This is not an exact science and I didn’t tweak it to perfection, so don’t have the exact numbers. Anyway, on the group track, where the compression took place, I used the following inserts:
Fabfilter Pro-C compressor (radical settings: low threshold and high ratio, fast attack, release time set to auto). I’m sure I could have used some of the Cubase stock compressors, too.
Fabfilter Pro-Q eq (a matter of taste and what will work in the mix. Yesterday, when playing along with a brush drum track and a upright bass track , I used a hi shelf to roll off the high’s from about 1,2 k, and a bell curve to boost the low mid around 0,5 k.
Blend the dry TG3 signal and the compressed signal to your liking. If I remember correctly I had equal amount of both.
Experience: I got a sound I liked, however when playing two handed it was a challenge to play the left hand stuff soft enough to just support the right hand, so I guess I need to do some more tweaking.
OBS! This was done quite late yesterday night so the chances are that when I open this project this evening I will realize I was actually quite far off from what I aimed for 