FYI: I played here the same passages anew and didn't use the same MIDI file for different virtual instruments. I think different instruments and ambients aquire different realtime interaction while performing. Putting a MIDI file to a virtual instrument would be like listening to a pianist with ears shut down. (Just as I find Spirio or Disklavier absurd.)
Do you adjust the keyboard sensitivity on your Kawai piano, to suit the virtual piano, in each of these examples in the demo? Or do you simply adapt you playing style (strength of each keystroke), for each virtual piano?
@@okay1904 I didn't do that in this video because I wanted to do a raw test, but I usually adjust the velocity curve. I don't mess around with the input piano because that would make the setting to much more complicated. It is much easier to do that on each VSTs because I can save and load multiple settings much quicklier.
Very interesting video! I actually wasn't that interested in Fazioli piano during the last Chopin Competition, but now I can appreciate how it sounds beautiful from your three VSTs. VSL f308 seems superior in almost all pieces from this video except for the chords played in fortissimo in Ballade no.1 for which Rhapsody Grand showed perfect power and resonance. Beautiful playing ❤️
IMO the VSL truly sounded more present, more realistic, but I'm listening through my own speakers and judging from a listener perspective, I wonder what's your feeling as a player, which one felt more realistic in terms of presence and tonal similarity with the original 308 (if ever heard one personally)? Thanks for the cool vid
Unfortunately, I never had the chance to hear Fazioli performed live on stage. Fazioli did not get my attention until the Chopin Competition 2021. (I thought of Fazioli more of a furniture. 😜) Then, after listening to Bruce Liu's performance, I thought I should at least get a virtual one!
@@Pianolifter lol an expensive furniture! Well, the VST sounds amazing btw really convincing, hope PTQ could model a 308 some day and which sounds at least as good as the VSL, thanks again for the comparison and keep lifting! 😁
@@DavidIzquierdoAzzouz I've seen a custom-made preset on the PTQ forum. Search "fazioli" then you'll find it. I couldn't make use of it because it was based on "K2 Grand"
Having listened extensively, my favorite is the Waves Rhapsody piano. I can now answer the question you asked at the end of the video. I prefer the Waves Rhapsody, cos of t he three, its the one that was the most immediate and present and the harmonics in the piano tone were the most rich, very likely based on both the piano itself and the microphone choice. I think the Rhapsody is a smaller grand piano Fazioli F228(previously owned by the lead singer of Queen) with a less pronounced bass, while the VSL is based on the largest Fazioli model F308. This alone explains the most important difference in the sound - the size. Of course there are other things that we do not know, how the pianos were prepared. I can imagine that the Rhapsody piano is not used much for Classical Music, albeit it sound good for that also when played by you. I like all of them, but I think that I'd based on the microphone choices and the sound of what I am hearing in this demo, most of the time I would prefer to use the Waves Rhapsody. for the kind of music I play - best described as Christian Contemporary Music and Pop/R&B. Thank you once again for a demo that has inspired me to really give every sampled piano a chance before dismissing it. I have owned Rhapsody for about 5 years, not long after it was released, and never gave it much of a chance. SO much to think about now, after listening to this. I can imagine so many people are in a perpetual search for the best piano, while this demo demonstrates that its far more about the pianist, once the piano or virtual piano exceeds a certain minimum threshold of sonic quality.
Thank you for the informative comment! I didn't know much about the background of this instrument. I'd wish the fault with the length of the notes (is it called "decay effect"?) In pieces like Barcarolle ( 04:32 ), it sounds so weired how the top notes (d# & g#) disappears so quickly. Maybe it has to do with the capacity of the layers (polyphony)?
@@Pianolifter The history of the sample developers also gives some kind of hint as to the reasons for each piano, I have been on a long search for decent virtual pianos, as I follow these things closely. I may describe myself more as a virtual piano "technician" one who has struggled to make virtual pianos sound authentic. i..e translating the sampled piano product into something that plays beautifully. Some things one can control such as : , listed below, in order of what I think is important when adjusting the sound. 1. The specific mix of microphones 2. Velocity Sensitivity via midiCurve - which was such a Godsend when I discovered it., especially as it's not well known. 3. EQ, Compression/Limiting and Reverb - for example in Rock Piano, all these are part of the sound, of what we hear - e.g in an Elton John piano recording or live show. Some of it is of course due to the way the piano was prepared - e.g with lacquer on the hammers to harden them. 4. Stereo width - Some plugins like Noire by Native Instruments, includes a width control, I think VSL also does. Otherwise there are a good number of plugins to adjust stereo width, and in some DAW's like Reaper, using 2 methods - either dual pan , or better "stereo pan", each channel provides an additional control to adjust the stereo width. And this change of stereo control, can be set in Reaper per channel 5. Some samples allow us to adjust the ADSR, which can lengthen or shorten notes, including the decay which is the D in ADSR. In the Waves Rhapsody, I think that the issue with some of the notes, is either a fault in the sampling, or a character of the piano which was sampled. So its not possible to alter this "anomaly". With Rhapsody, the pedigree of the actual piano, which was also used for one of Adele's pop hit ballads "Hello", as a key selling point, will be far more important than any anomalies, especially since most people will use this for pop or rock or ballads, and the imperfections could be overlooked. With VSL they have the luxury of taking their time to choose which Fazioli to Cheer purchase for their recording hall, and also sample to create a virtual piano product, and their pianos will be much newer - i.e pretty much brand new., so they have every opportunity to ensure that the product has as few imperfections as possible. I think this can be fixed, but I detect a slight skewing to the left in the sound of the VSL, which could be caused by the positioning of the piano in the concert hall. They had as similar "sampling artefact" with the odd stereo positioning of their Bosendorfer piano., but as I said, I think for the Fazioli, it can be adjusted in their mixer. Keep well, thanks to you I think I have now reached a stage where I really appreciate the underlying features that contribute to creating each kind of piano tone., and rather than search for the ideal piano, I'll spend more of my time getting the best out of whatever tools I have at my disposal, cos at the end of the day what really matters is the music we create. Best Wishes.
Yes, I've heard ribbon mics work magic. (💸💸💸) I usually switch off the main mic when playing other Synchron grands, because there are too much reverbs involved. Is there a way too set a dry studio ambience with player's perpevtive? (Withous the pricy ribbon mic?) I still have hard time to getting used to mic settings after having used Pianoteq.
A little bit too warm, I'm afraid. I was hoping to experience the brilliance I heard during the final stage of the Chopin Competition last year. Maybe I have to take other mic sets.
Wonderful demonstration. I was impressed by the Grand Rhapsody considering its price point. I tried it but could only run it as a standalone application (didn't show up in Ableton). And I must say that it sounded horribly flat. Do you have a particular setting for the VST or for the general environment ?
An excellent comparison. Thank you. I have owned Grand Rhapsody for at least 5 years, but never thought much of it. Your demo demonstrates that there is no clear winner. I expected the VSL to blow the others out of the water, but in this comparison, I am shocked that it did NOT. Over many years, and especially recent listening to so many of these virtual pianos played by people like you, who know how to play, my conclusion is : 1. The end user must have a really good keyboard - i.e MIDI Keyboard controller 2. Excellent monitoring (speakers and/or headphones) 3. Ability to tweak the velocity curve 4. Good understanding of piano microphone recording techniques, to understand how to use the multiple microphone options available. 5. Good understanding of how to add additional reverb, compression, and EQ as needed. In other words, getting virtual pianos to sound authentic, is in itself skill, and this ability varies from person to person, but nevertheless is one which must be mastered through extensive practice, trial and error and relentless experimentation, to achieve the optimal result for each piece of music. There is far more to using virtual pianos than just buying them. The user must be ready to invest time and love the get the most out of each instrument they purchase or acquire.
I can't agree more with you. Comparing VSTs and acoustic instruments to each other and rating one more superior than other is useless. They are just different and it is an obligation of a pianist to make the best of them. A pianist doesn't complain at the rehearsal how great the grand back at home sounded. He or she is just to do the job, no matter what instrument was given. I have a traditional classical backgound and hear very often from some collegues that using VSTs is like cheating. I advise them to use VSTs and to try to perform like a god. They then realise that VSTs never do the job for them. It's a pitty that many of them don't even try to learn the very basic technical knowledges required for VSTs to make music richier and more versatile.
@@Pianolifter I must thank you for this outstanding demo. I love your playing. We are creatures of imitation, and habit, with most of our biases based on experience and what we have observed, from others. The same happens with some musicians I know, very defensive about their assumed opinions. Sometimes this defensive attitude is based on defending the time and effort they have put into a specific way of doing things which they consider the best. I happen to come from a science background and computing, so I prefer to try to understand the why. One of the key things I notice about piano recordings is the difference in their stereo width, which of course is based on the microphone placement used for the recordings. I use analysers to objectively view both the stereo width and the frequency response. And of course every piano is different, even pianos of the same model and manufacturer, and of course the room in which they were recorded, as well as the kind of microphones and recording chain will all make a difference. And this difference will be found in the highest quality Classical recordings, if one listens closely, cos the recording engineers each have their own preferences also. So it is only logical to realise that the same variation will exist in sampled pianos. Above all is the pianist, who makes all the difference. Ultimately the question is - can an instrument (real or virtual) behave like one, i.e allow the pianist to express the emotion in the music, and in this recording you do this as well as possible with each piano.
Thank you for this useful video! I'm a happy owner of VSL CFX and D274. I'm interested in playability and uniformity of tone throughout the whole keyboard. I find the CFX more playable than the D274. How does the Fazioli compares to them in terms of playability? Thanks
@@Pianolifter VI Labs has some weird sounds for the American, German, and sometimes Fazioli... may happen when you use sustain pedal... the Ravenscroft is much better, I found
Can I ask you about the MIDI behavior of the CA99? Did you tweak the velocity curve? Are you able to easily trigger lower MIDI values (like 1 to 15) as well as higher ones above 115? I'm looking for a new piano, it's going to be a MIDI controller mostly and since I wasn't very pleased with the MIDI behavior of my sold CA97, I'm now doubting whether the CA99 would be any better in this regard.. Thank you!
I usually adjust the velocity curve at the VST panel depending on the pieces, but for the comparison test here no adjustment at all (straight diagonal line). I find controlling the values under 15 very hard (as it is hard to play pp on an acustic piano) no matter what digital piano I use. But I've never tried tweaking the something at CA99! Most of the desired sounds werde achiverble from the settings of the VSTs (ie Pianoteq, VSL Synchron).
Although I love this Fazioli so much, I still believe D-274 makes everything sound universally nicer. D-274 puts the characteristics of the composition forward instead of tones of the piano itself. Fazioli sounds unbeatable when combined with some specific repertoire, I think. (Just like Bosendorfer Imperial)
Oh well to answer the first question, I have to know all the digital piano models! But from the range of $ 3,000 to $ 4,000 was Kawai CA99 most realistic and most playable. I didn't want a digital piano that has also copied the physical disadvantages of the acoustic ones. The second question is quite easy: D274. Because Steinway D274 is the only one experinced concert grand for me. There were numerous Kawais and Yamahas and Bechsteins but they were all room-sized.
Just the same as any other digital pianos! There's a laptop with the VST-software connected to CA99. Then I hear the sounds coming from the laptop, while the sound of CA99 is muted.
Is there a particular reason why the dynamics of each tone are so different, in the sense of uneven, and each tone seems to stick out like a pin prick, rather than the proper smoothness and elegance that characterizes the wonderful Fazioli pianos? I feel like you're playing with louder dynamics than necessary. I suppose this could be due to an inappropriate setting of the dynamic curve of the software (incl. Synchron F308) versus the CA99, which in this case only serves as a MIDI controller, and a top-notch one at that. Moreover, the length from the outer end of the key to the fulcrum on the CA-99 is long enough to allow good control over the sound.
There's no particular reason! My fingers just played this piece unvenly! 🤣 Overall, I find VSL pianos harder to play evenly than CA99's SK-Grand Maybe it will improve when I correct the velo curve, as you suggest, but I wanted make a raw comparison this time. (I will practice more next time! 😘)
@@Pianolifter Hello again, the problem mentioned in my previous post is not related to your playing at all, but definitely to the velocity curve settings of the software. I come to this conclusion because I watched another video of yours, with a blind test. It shows exactly the same prevalence of overly loud dynamics that would not be noticeable when playing a real grand piano. _______ I'll share with you that I had the same problem years ago, when I had to play a movement of Borodin's Bogatyr Symphony during a lecture to students (on musical analysis). I was using an old midi controller to which I had connected a Garritan Abbey Road Studios CFX Concert Grand virtual piano (the full version). At home, when I play on this same VST piano, everything is fine because I use a Yamaha AvantGrand N1 as the controller. The problem that occurred with the old MIDI controller (which was available at the university) was solved when I made the necessary adjustments from the software, so as to avoid going into too loud dynamics caused by the light keyboard. I guess the VSL software suggests similar settings and so your performances will have a much richer realism. You play wonderfully and I believe that with a little effort you will find the balance between the Kawai piano and the VSL-Synchron. I wish you success and many more interesting performances and comparisons in your videos.
@@wessmusic4501 Thank you for your extensive oppinion! I did make the dynamics intentionally louder overall with a plug-in (maximizer), because with my current headphone, combined with VSL Synchron, everything is so low on volume. So instead of using a headphone amp, I used this plug-in. (With Pianoteq, it was not necessary) I still have to find a better balance btw headphone amp and maximizer. Maybe I have to invest more for quality headphone. (Mine is currentliy Phillips SHP9500)
wow did you get the Synchron Standard or Full? What settings and microphones do you use? I like to use Close and Mid only because the others and the reverb make the sound feel like coming from far away.
I've got a demo for a limited period of time, and it's the full version. My setting is Player Decaa Tree with the Main mic turned off. I also like close mics, because I barely have experience as a concert pianist and too much reverb confuses me. Ribbon mics from the full version are told to be "closer", I've heard.
@@Pianolifter yes, somebody was saying ribbon mic was great and I saw somebody using 60% Condenser and 80% Ribbon: ua-cam.com/video/cYtDyD3cS4U/v-deo.html
@@winterheat www.vsl.co.at/en/Synchron_Series/Fazioli_F308#!Presets I don't know if you already know this page, I recommend you visit the page and go down to "Details of Microphone Settings". They made a very good basic comparison of each mics. My plan is also to compare the mics one by one before the free demo periode is over. But still, I find the full version too pricy. 😥 I've been dreaming of playing Fazioli but my purse says somehow "nah" right now...
@@winterheat I've just gone through all the mics from the full version one by one, and the "closeness" are in the order of "Tube" - "Condenser" - "Ribbon" - "Mid 1" - "Mid2" etc. (ranked from close to far) in my personal opinion.
FYI: I played here the same passages anew and didn't use the same MIDI file for different virtual instruments.
I think different instruments and ambients aquire different realtime interaction while performing.
Putting a MIDI file to a virtual instrument would be like listening to a pianist with ears shut down. (Just as I find Spirio or Disklavier absurd.)
This is so true, cos the layering of each instrument's sample layers to MIDI velocities will not be identical.
Do you adjust the keyboard sensitivity on your Kawai piano, to suit the virtual piano, in each of these examples in the demo? Or do you simply adapt you playing style (strength of each keystroke), for each virtual piano?
@@okay1904 I didn't do that in this video because I wanted to do a raw test, but I usually adjust the velocity curve.
I don't mess around with the input piano because that would make the setting to much more complicated.
It is much easier to do that on each VSTs because I can save and load multiple settings much quicklier.
Place midiCurve plugin, just before your VST piano.
@@okay1904 I will keep that in mind, thanks!
I love your original interpretation and expression. ✨✨
Nice to meet U 🥹
Very interesting video! I actually wasn't that interested in Fazioli piano during the last Chopin Competition, but now I can appreciate how it sounds beautiful from your three VSTs. VSL f308 seems superior in almost all pieces from this video except for the chords played in fortissimo in Ballade no.1 for which Rhapsody Grand showed perfect power and resonance. Beautiful playing ❤️
Thank you! You should do me the honor to visit me and play my virtual f308! (Among other pianos 🥰)
VSL Synchron F308 wins, hands down!. EXCELLENT playing, BTW 👏👏👏
I think so, too. The VSL team has done a really nice job!
IMO the VSL truly sounded more present, more realistic, but I'm listening through my own speakers and judging from a listener perspective, I wonder what's your feeling as a player, which one felt more realistic in terms of presence and tonal similarity with the original 308 (if ever heard one personally)? Thanks for the cool vid
Unfortunately, I never had the chance to hear Fazioli performed live on stage. Fazioli did not get my attention until the Chopin Competition 2021. (I thought of Fazioli more of a furniture. 😜)
Then, after listening to Bruce Liu's performance, I thought I should at least get a virtual one!
@@Pianolifter lol an expensive furniture! Well, the VST sounds amazing btw really convincing, hope PTQ could model a 308 some day and which sounds at least as good as the VSL, thanks again for the comparison and keep lifting! 😁
@@DavidIzquierdoAzzouz I've seen a custom-made preset on the PTQ forum. Search "fazioli" then you'll find it. I couldn't make use of it because it was based on "K2 Grand"
Having listened extensively, my favorite is the Waves Rhapsody piano. I can now answer the question you asked at the end of the video. I prefer the Waves Rhapsody, cos of t he three, its the one that was the most immediate and present and the harmonics in the piano tone were the most rich, very likely based on both the piano itself and the microphone choice. I think the Rhapsody is a smaller grand piano Fazioli F228(previously owned by the lead singer of Queen) with a less pronounced bass, while the VSL is based on the largest Fazioli model F308. This alone explains the most important difference in the sound - the size.
Of course there are other things that we do not know, how the pianos were prepared. I can imagine that the Rhapsody piano is not used much for Classical Music, albeit it sound good for that also when played by you. I like all of them, but I think that I'd based on the microphone choices and the sound of what I am hearing in this demo, most of the time I would prefer to use the Waves Rhapsody. for the kind of music I play - best described as Christian Contemporary Music and Pop/R&B.
Thank you once again for a demo that has inspired me to really give every sampled piano a chance before dismissing it. I have owned Rhapsody for about 5 years, not long after it was released, and never gave it much of a chance. SO much to think about now, after listening to this. I can imagine so many people are in a perpetual search for the best piano, while this demo demonstrates that its far more about the pianist, once the piano or virtual piano exceeds a certain minimum threshold of sonic quality.
Thank you for the informative comment!
I didn't know much about the background of this instrument.
I'd wish the fault with the length of the notes (is it called "decay effect"?)
In pieces like Barcarolle ( 04:32 ), it sounds so weired how the top notes (d# & g#) disappears so quickly.
Maybe it has to do with the capacity of the layers (polyphony)?
@@Pianolifter The history of the sample developers also gives some kind of hint as to the reasons for each piano, I have been on a long search for decent virtual pianos, as I follow these things closely. I may describe myself more as a virtual piano "technician" one who has struggled to make virtual pianos sound authentic. i..e translating the sampled piano product into something that plays beautifully. Some things one can control such as :
, listed below, in order of what I think is important when adjusting the sound.
1. The specific mix of microphones
2. Velocity Sensitivity via midiCurve - which was such a Godsend when I discovered it., especially as it's not well known.
3. EQ, Compression/Limiting and Reverb - for example in Rock Piano, all these are part of the sound, of what we hear - e.g in an Elton John piano recording or live show. Some of it is of course due to the way the piano was prepared - e.g with lacquer on the hammers to harden them.
4. Stereo width - Some plugins like Noire by Native Instruments, includes a width control, I think VSL also does. Otherwise there are a good number of plugins to adjust stereo width, and in some DAW's like Reaper, using 2 methods - either dual pan , or better "stereo pan", each channel provides an additional control to adjust the stereo width. And this change of stereo control, can be set in Reaper per channel
5. Some samples allow us to adjust the ADSR, which can lengthen or shorten notes, including the decay which is the D in ADSR.
In the Waves Rhapsody, I think that the issue with some of the notes, is either a fault in the sampling, or a character of the piano which was sampled. So its not possible to alter this "anomaly". With Rhapsody, the pedigree of the actual piano, which was also used for one of Adele's pop hit ballads "Hello", as a key selling point, will be far more important than any anomalies, especially since most people will use this for pop or rock or ballads, and the imperfections could be overlooked.
With VSL they have the luxury of taking their time to choose which Fazioli to Cheer purchase for their recording hall, and also sample to create a virtual piano product, and their pianos will be much newer - i.e pretty much brand new., so they have every opportunity to ensure that the product has as few imperfections as possible. I think this can be fixed, but I detect a slight skewing to the left in the sound of the VSL, which could be caused by the positioning of the piano in the concert hall. They had as similar "sampling artefact" with the odd stereo positioning of their Bosendorfer piano., but as I said, I think for the Fazioli, it can be adjusted in their mixer.
Keep well, thanks to you I think I have now reached a stage where I really appreciate the underlying features that contribute to creating each kind of piano tone., and rather than search for the ideal piano, I'll spend more of my time getting the best out of whatever tools I have at my disposal, cos at the end of the day what really matters is the music we create. Best Wishes.
Thank you for the comparison. Although it sounds wonderful the VSL in even the standard edition is $342 US dollars and 180 GB download. 😮
try 3 mics in VSL for all Piano (need the full version) Condenser at 100% and Ribbon at 100% and main at 30% (Ribbon is magical)
Yes, I've heard ribbon mics work magic. (💸💸💸)
I usually switch off the main mic when playing other Synchron grands, because there are too much reverbs involved.
Is there a way too set a dry studio ambience with player's perpevtive? (Withous the pricy ribbon mic?)
I still have hard time to getting used to mic settings after having used Pianoteq.
Hmm 🤔 really enjoy the warmth of the F308.
A little bit too warm, I'm afraid. I was hoping to experience the brilliance I heard during the final stage of the Chopin Competition last year.
Maybe I have to take other mic sets.
@@Pianolifter try 3 mics in VSL for all Piano (need the full version) Condenser at 100% and Ribbon at 100% and main at 30% (Ribbon is magical)
연진아 이모습 영원히
Wonderful demonstration. I was impressed by the Grand Rhapsody considering its price point. I tried it but could only run it as a standalone application (didn't show up in Ableton). And I must say that it sounded horribly flat. Do you have a particular setting for the VST or for the general environment ?
An excellent comparison. Thank you. I have owned Grand Rhapsody for at least 5 years, but never thought much of it. Your demo demonstrates that there is no clear winner. I expected the VSL to blow the others out of the water, but in this comparison, I am shocked that it did NOT.
Over many years, and especially recent listening to so many of these virtual pianos played by people like you, who know how to play, my conclusion is :
1. The end user must have a really good keyboard - i.e MIDI Keyboard controller
2. Excellent monitoring (speakers and/or headphones)
3. Ability to tweak the velocity curve
4. Good understanding of piano microphone recording techniques, to understand how to use the multiple microphone options available.
5. Good understanding of how to add additional reverb, compression, and EQ as needed.
In other words, getting virtual pianos to sound authentic, is in itself skill, and this ability varies from person to person, but nevertheless is one which must be mastered through extensive practice, trial and error and relentless experimentation, to achieve the optimal result for each piece of music. There is far more to using virtual pianos than just buying them. The user must be ready to invest time and love the get the most out of each instrument they purchase or acquire.
I can't agree more with you.
Comparing VSTs and acoustic instruments to each other and rating one more superior than other is useless.
They are just different and it is an obligation of a pianist to make the best of them. A pianist doesn't complain at the rehearsal how great the grand back at home sounded. He or she is just to do the job, no matter what instrument was given.
I have a traditional classical backgound and hear very often from some collegues that using VSTs is like cheating.
I advise them to use VSTs and to try to perform like a god. They then realise that VSTs never do the job for them.
It's a pitty that many of them don't even try to learn the very basic technical knowledges required for VSTs to make music richier and more versatile.
@@Pianolifter I must thank you for this outstanding demo. I love your playing. We are creatures of imitation, and habit, with most of our biases based on experience and what we have observed, from others. The same happens with some musicians I know, very defensive about their assumed opinions. Sometimes this defensive attitude is based on defending the time and effort they have put into a specific way of doing things which they consider the best.
I happen to come from a science background and computing, so I prefer to try to understand the why. One of the key things I notice about piano recordings is the difference in their stereo width, which of course is based on the microphone placement used for the recordings. I use analysers to objectively view both the stereo width and the frequency response. And of course every piano is different, even pianos of the same model and manufacturer, and of course the room in which they were recorded, as well as the kind of microphones and recording chain will all make a difference.
And this difference will be found in the highest quality Classical recordings, if one listens closely, cos the recording engineers each have their own preferences also. So it is only logical to realise that the same variation will exist in sampled pianos. Above all is the pianist, who makes all the difference.
Ultimately the question is - can an instrument (real or virtual) behave like one, i.e allow the pianist to express the emotion in the music, and in this recording you do this as well as possible with each piano.
연진아 보고싶다
영원히 이모습 그대로이겠구나..
꿈만같구나 지난 세월 추억들…
Hello, my dear friend! Thanks for sharing this piano music! I so like Chopin! You play wonderful!🎹🎼🎵🎶 Like 47👍 Very nice! Always be healthy and happy!
Glad you liked it! Thank you!
보구싶다
Thank you for this useful video! I'm a happy owner of VSL CFX and D274. I'm interested in playability and uniformity of tone throughout the whole keyboard. I find the CFX more playable than the D274. How does the Fazioli compares to them in terms of playability? Thanks
The Vsl F308 sound the best. Set your mics :)
I agree. The other two purchases were mistakes out of impatience. (Sorry, Waves & VI Labs)
@@Pianolifter VI Labs has some weird sounds for the American, German, and sometimes Fazioli... may happen when you use sustain pedal... the Ravenscroft is much better, I found
Can I ask you about the MIDI behavior of the CA99? Did you tweak the velocity curve? Are you able to easily trigger lower MIDI values (like 1 to 15) as well as higher ones above 115? I'm looking for a new piano, it's going to be a MIDI controller mostly and since I wasn't very pleased with the MIDI behavior of my sold CA97, I'm now doubting whether the CA99 would be any better in this regard.. Thank you!
I usually adjust the velocity curve at the VST panel depending on the pieces, but for the comparison test here no adjustment at all (straight diagonal line).
I find controlling the values under 15 very hard (as it is hard to play pp on an acustic piano) no matter what digital piano I use. But I've never tried tweaking the something at CA99! Most of the desired sounds werde achiverble from the settings of the VSTs (ie Pianoteq, VSL Synchron).
Thanks for a great comparison. Do you have any thoughts on how the 308 compares to other Synchron pianos, especially 280Vc and ImperiaL? Thanks,
I think F308 sounds and reacts more like 280VC than Imperial!
Shame about all that compression going on. But thank you for doing this. I prefer the VSL.
I'd wish I could handle the balance of the plug-ins better. Thank you for the comment! 😊
Nice comparison!
How do you compare it to the VSL Synchron D-274?
Which one would you pick?
Although I love this Fazioli so much, I still believe D-274 makes everything sound universally nicer. D-274 puts the characteristics of the composition forward instead of tones of the piano itself.
Fazioli sounds unbeatable when combined with some specific repertoire, I think. (Just like Bosendorfer Imperial)
Compliments for your playing! What digital do You think has the best action and what vst is closest to a real piano sound?
Oh well to answer the first question, I have to know all the digital piano models! But from the range of $ 3,000 to $ 4,000 was Kawai CA99 most realistic and most playable.
I didn't want a digital piano that has also copied the physical disadvantages of the acoustic ones.
The second question is quite easy: D274.
Because Steinway D274 is the only one experinced concert grand for me. There were numerous Kawais and Yamahas and Bechsteins but they were all room-sized.
Listening on my stereo system the vsl one is the clear winner, while the true keys is the clear loser.
Thank you for your opinion!
I actually play the true keys the least.
How do you use this virtual pianos with the ca99?
Just the same as any other digital pianos!
There's a laptop with the VST-software connected to CA99. Then I hear the sounds coming from the laptop, while the sound of CA99 is muted.
Is there a particular reason why the dynamics of each tone are so different, in the sense of uneven, and each tone seems to stick out like a pin prick, rather than the proper smoothness and elegance that characterizes the wonderful Fazioli pianos?
I feel like you're playing with louder dynamics than necessary. I suppose this could be due to an inappropriate setting of the dynamic curve of the software (incl. Synchron F308) versus the CA99, which in this case only serves as a MIDI controller, and a top-notch one at that.
Moreover, the length from the outer end of the key to the fulcrum on the CA-99 is long enough to allow good control over the sound.
There's no particular reason! My fingers just played this piece unvenly! 🤣
Overall, I find VSL pianos harder to play evenly than CA99's SK-Grand
Maybe it will improve when I correct the velo curve, as you suggest, but I wanted make a raw comparison this time.
(I will practice more next time! 😘)
@@Pianolifter Hello again,
the problem mentioned in my previous post is not related to your playing at all, but definitely to the velocity curve settings of the software.
I come to this conclusion because I watched another video of yours, with a blind test. It shows exactly the same prevalence of overly loud dynamics that would not be noticeable when playing a real grand piano.
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I'll share with you that I had the same problem years ago, when I had to play a movement of Borodin's Bogatyr Symphony during a lecture to students (on musical analysis). I was using an old midi controller to which I had connected a Garritan Abbey Road Studios CFX Concert Grand virtual piano (the full version).
At home, when I play on this same VST piano, everything is fine because I use a Yamaha AvantGrand N1 as the controller.
The problem that occurred with the old MIDI controller (which was available at the university) was solved when I made the necessary adjustments from the software, so as to avoid going into too loud dynamics caused by the light keyboard.
I guess the VSL software suggests similar settings and so your performances will have a much richer realism. You play wonderfully and I believe that with a little effort you will find the balance between the Kawai piano and the VSL-Synchron.
I wish you success and many more interesting performances and comparisons in your videos.
@@wessmusic4501 Thank you for your extensive oppinion!
I did make the dynamics intentionally louder overall with a plug-in (maximizer), because with my current headphone, combined with VSL Synchron, everything is so low on volume.
So instead of using a headphone amp, I used this plug-in. (With Pianoteq, it was not necessary)
I still have to find a better balance btw headphone amp and maximizer. Maybe I have to invest more for quality headphone. (Mine is currentliy Phillips SHP9500)
wow did you get the Synchron Standard or Full? What settings and microphones do you use? I like to use Close and Mid only because the others and the reverb make the sound feel like coming from far away.
I've got a demo for a limited period of time, and it's the full version.
My setting is Player Decaa Tree with the Main mic turned off.
I also like close mics, because I barely have experience as a concert pianist and too much reverb confuses me.
Ribbon mics from the full version are told to be "closer", I've heard.
@@Pianolifter yes, somebody was saying ribbon mic was great and I saw somebody using 60% Condenser and 80% Ribbon: ua-cam.com/video/cYtDyD3cS4U/v-deo.html
@@Pianolifter wait, I don't see a 30 day demo for this product... in fact they remove all the 30 day demo link away from their page...
@@winterheat www.vsl.co.at/en/Synchron_Series/Fazioli_F308#!Presets
I don't know if you already know this page, I recommend you visit the page and go down to "Details of Microphone Settings". They made a very good basic comparison of each mics.
My plan is also to compare the mics one by one before the free demo periode is over.
But still, I find the full version too pricy. 😥 I've been dreaming of playing Fazioli but my purse says somehow "nah" right now...
@@winterheat I've just gone through all the mics from the full version one by one, and the "closeness" are in the order of "Tube" - "Condenser" - "Ribbon" - "Mid 1" - "Mid2" etc. (ranked from close to far) in my personal opinion.