I can't think of a single serious pianist that doesn't use partial pedalling techniques during the bulk of their playing. Hell, Horowitz made an artform out of that aspect alone. It is in fact an essential part of playing much of the repertoire.
-
I made a short test of resonances and half-pedalling.
The test consists of 3 parts:
PART1: sympathetic resonance
An almost silent note A2 followed by staccato notes A3, E3 and A1 at 2.3s, 6.1s and 9.2s respectively, that should make the A2 string to resonate.
PART2: overall resonance + half-pedalling
A few notes struck at full pedal should make a reverb-like sound, although any instance of reverb is turned off.
Between 36.8s and 40.1s the note should fade out, or at least increase fading out more rapidly than earlier because of the half-pedal. There should not be a sudden cut at 40.1s, because the note should be already silent (of course not due to too short samples).
PART3: just another test of resonances with full pedal.
I attach two versions (made by Pianoteq 3 and Ivory Boesendorfer), as well as the midi file. My opinion is that Pianoteq is a master of resonances, however its single notes sound much worse than Ivory's.
Now I'm really curious how does it work with Vienna Imperial: is it as ingenious as they say it is? Guy, could you please record this midi with Vienna Imperial? Thanks in advance!
attached files
-
I could do it, but bear in mind you are not limited to one type of resonance, you have flexibility in that regard, aside from the piano position, (close, player and distant) you could alter the resonance in some respects, mainly with the "sympathetic" option, you decide how much of it you like.
-
In both (Pianoteq and Ivory) I used the most standard option (the one that the plugin starts with) with only a change of turning of any reverb.
Probably the close position is the best one for such a test. When it comes to resonance sliders, it's always tricky. For example in Ivory you have a knob to turn, but it makes a very artificial effect. How about posting a recording with the standard settings and some increased resonance?
It all may seem stupid, but everything sounds great on prepared recordings, but when you start playing it, you find the hidden disadvantages and drawbacks. From my experience: Akoustik Piano sounds bad on samples and while playing, Pianoteq sounds better, but still far to ideal on samples, however occurs really responsive, Ivory sounds almost great on recordings but does not give the possibility to play with (just plays the samples), and now Vienna Imperial: sounds great on recordings, but how it feels under your own fingers? You may say that it's great, hoever I have heard opinions saying that there's nothing better than Akoustik Piano... Actually I believe VI's samples are ideal, but what I'm afraid of is the DSP.
-
I've just spent a week with the Vienna Imperial and I love it. However I have a slight concern. To my ears at least, some of the top notes (e.g. the C and Db three octaves above middle C), especially when played quietly, seem slightly out of tune. This is only audible when the sustain pedal is down and the resonance samples enabled. Although this adds to the organic quality of the piano (to refer to an earlier post) it does worry me, especially when this is to be used in recordings. Anyone else noticed this?
-
-
The fact that the real piano is often out of tune does not justify that a virtual instrument is... One of the advantages of a digital piano is that it always stays tuned - here it seems to be slightely detuned from the very beginning, and to make matter worse, retuning is virtually impossible.
-
I quite agree. Retuning isn't virtually impossible: it's impossible. One fundamental difference between a piano and a digital piano is that the piano tuner can't be called in to fix any out-of-tune notes in the latter. There is the additional issue that the out-of-tune samples are always exactly the same, making the fault doubly irritating. It would seem that the piano tuner hadn't been called in often enough when the initial recordings were made. Vienna Imperial is expensive, undoubtedly reflecting the undeniably impressive technical achievement, but this issue really needs sorting out, perhaps by another recording session to recapture the duff samples. In a concert setting the current Vienna Imperial would be barely acceptable; for an instrument designed for recording it is simply unacceptable.
-
Hello, I just found this thread. Some days ago I started a similar thread. I also discovered that some of the top notes are slightly out of tune... Of course that's not perfect but one can live with it. A much more bothering problem what I've written already is that there's an oscillating high frequency tone at G4... very high and louder at heavier velocities (espeacially when using the sustain pedal!!!). Nobody noticed that? It's rather evident and annoying but the responsibles at VSL ignore my request... :-( I would wish they could process this note and launch an update of the Imperial...
-
Is there a possibility to create the .dat files for Vienna Imperial's sound without soft pedal samples? I never use them and they just waste space. That would be a great help for me before I buy a bigge SSD disk, because now the only setting that fits my flash disk is the close strings one.
-
