@@edwardsmusic As musicians gravitating in the orbit of the VSL planet, dear D.A., least I could do is to support your content, so, well done! Hope I'll be able to play one of your pieces for an upcoming video I'll make about pianos... Could you imagine, a nice bridge made within the VSL-verse! 😎🎹
Really excellent comparison here, love the musical demonstrations. The VSL pianos are remarkably playable (certainly on par with physical modeling). I’m still in a honeymoon phase with my VSL CFX, and the original Vienna Imperial feels even more detailed with real una corda and the 2SUS feature (though you can add the latter to any Synchron Series piano by routing it through Pianoteq’s resonance modeler).
i am in love with my syncron 274 steinway , and i can t stand anymore the pianoteq 8 which is practical but has no soul, he misses the imperfections of a real piano . the Next is likely to be the fazioli syncron , which ( i m talking real grand piano) improved a lot as time goes by.So did yamaha too but,pure matter of taste, doesn t thrill me. I honestly have an hard time to realise if a recording has been made with a real grand or a vst, i can tell the difference but is really getting negligeable. I own 12 vst and i must admit that not many are really well done , there a lot of advertisment for pianos that are nothing extraordinary .At the end of the day you have to try them in different music styles .Solo piano ,trio ,piano and orchestra ,classical quartet jazz funky salsa boogie pop . After some year you really undestand them ,and it is mostly a matter of taste .I have been listening so many recordings and now i know how i like the piano recorded.Even big names like Deutsche Grammophon do not always record the piano as i like it. On the contrary sometimes i hear recordings from unknown studios that i really like. The tuner ,i guess,not only the mics and the piano makes the difference . Recording a grand piano is an art. Thanks for the professional video.
Yes, a lot of it is personal preference and I think that's why it's great that with the Synchron Pianos you get direct control over the mix, which opens up a lot of possibilities. There are other libraries that allow for this too of course, but that still requires that the piano itself sounds great, that it's in an adequate recording environment, that the microphones (and rest of the signal chain) are of quality, and of course, that the microphones are placed with a lot of care. I think every single mixer track with the individual microphones sounds very balanced on its own. And then with sampling, of course, it's also important that the people doing the sampling actually take their time with it and don't get lazy along the way. The sampling robot obviously helps with that, but you still have to be willing to then actually capture all that, and the VSL team does! But also how the sampler then handles those matters a lot. I believe one reason why the repetition test and other things like that sounded so good, was because of how intelligently the SY Pianos Player seems to switch through the sample data. I think that's a big contributor to why it sounds so alive.
I personally never bought into Pianoteq. Initially it sounded very 'plastic' for lack of a more precise eval; it got better but not to where I'd throw money at it like I have a problem. My piano instrument since late 2020 has been the Bosendorfer Imperial in the Synchron Piano, which couldn't be more convincing. It feels like other instruments in the same space are sympathetically vibrating by it, even.
Hi D.A. 👋🏻👋🏻 So glad to see you more regularly on this channel!
Thanks! I'm glad that people seem to like it haha 😁
@@edwardsmusic As musicians gravitating in the orbit of the VSL planet, dear D.A., least I could do is to support your content, so, well done! Hope I'll be able to play one of your pieces for an upcoming video I'll make about pianos... Could you imagine, a nice bridge made within the VSL-verse! 😎🎹
Really excellent comparison here, love the musical demonstrations. The VSL pianos are remarkably playable (certainly on par with physical modeling). I’m still in a honeymoon phase with my VSL CFX, and the original Vienna Imperial feels even more detailed with real una corda and the 2SUS feature (though you can add the latter to any Synchron Series piano by routing it through Pianoteq’s resonance modeler).
Hi D.A. Edwards, I appreciate how you compared the pianos. I also like your music and would like to hear more.
i am in love with my syncron 274 steinway , and i can t stand anymore the pianoteq 8 which is practical but has no soul, he misses the imperfections of a real piano .
the Next is likely to be the fazioli syncron , which ( i m talking real grand piano) improved a lot as time goes by.So did yamaha too but,pure matter of taste, doesn t thrill me.
I honestly have an hard time to realise if a recording has been made with a real grand or a vst, i can tell the difference but is really getting negligeable. I own 12 vst and i must admit that not many are really well done , there a lot of advertisment for pianos that are nothing extraordinary .At the end of the day you have to try them in different music styles .Solo piano ,trio ,piano and orchestra ,classical quartet jazz funky salsa boogie pop . After some year you really undestand them ,and it is mostly a matter of taste .I have been listening so many recordings and now i know how i like the piano recorded.Even big names like Deutsche Grammophon do not always record the piano as i like it. On the contrary sometimes i hear recordings from unknown studios that i really like. The tuner ,i guess,not only the mics and the piano makes the difference .
Recording a grand piano is an art.
Thanks for the professional video.
Yes, a lot of it is personal preference and I think that's why it's great that with the Synchron Pianos you get direct control over the mix, which opens up a lot of possibilities.
There are other libraries that allow for this too of course, but that still requires that the piano itself sounds great, that it's in an adequate recording environment, that the microphones (and rest of the signal chain) are of quality, and of course, that the microphones are placed with a lot of care. I think every single mixer track with the individual microphones sounds very balanced on its own.
And then with sampling, of course, it's also important that the people doing the sampling actually take their time with it and don't get lazy along the way. The sampling robot obviously helps with that, but you still have to be willing to then actually capture all that, and the VSL team does! But also how the sampler then handles those matters a lot. I believe one reason why the repetition test and other things like that sounded so good, was because of how intelligently the SY Pianos Player seems to switch through the sample data. I think that's a big contributor to why it sounds so alive.
I personally never bought into Pianoteq. Initially it sounded very 'plastic' for lack of a more precise eval; it got better but not to where I'd throw money at it like I have a problem. My piano instrument since late 2020 has been the Bosendorfer Imperial in the Synchron Piano, which couldn't be more convincing. It feels like other instruments in the same space are sympathetically vibrating by it, even.
FISCHILII PLEASE CAN WE BE FRIENDS AGAIN