@Gamma1734 said:

I have another issue, I find the A6 and G#6 (but other notes as well) to sound very strange when pressed repeatedly, especially in the p to mf range. I attach a file. I don't know if I screwed a setting but it really distracts me from playing. Actually I just loaded the player setting and mixed a little bit some other mics in as well.

I've been doing a lot of A/B comparing this morning between Vienna Imperial and the new Synchron Imperial and came to the conclusion that they are so different you can't really compare them. I love the "clinical" anechoic VI sound, it's just like you sitting in your own little (well, maybe not so little) booth right at the piano keyboard, but you cannot compare this to the infinite variety that the Synchron piano with its multiple mics and flexible delay settings gives.

As to Gamma1734's point, that strange "wah wah" effect that those few notes give when repeated in certain dynamic ranges, actually you can hear it just a little in VI too. I'm guessing it's down to the interaction of the string tension and damper force in that particular very small range of notes, but I think it just so happens too that it's hitting something in the acoustic response of the Synchron Stage, like a little bit of "slap" which is arriving back and accentuating it.

Bottom line, I'm going to stick with VI for just playing a piano for enjoyment as the Synchron Imperial has too many little idiosyncracies, but it's got to be the Synchron for serious orchestral work.

Thanks Angelus for your answer. I have both right now, but (sadly) due to financial reasons I will have to give one back (thanks to the return policy). I was sure to keep the new Bösendorfer but now you really make me think about it! It is true: the vienna imperial sounds so different to my ears compared to the Synchron. In fact I privately made comparison recordings and sat down and listened to them. The VI is sharper, clearer, melodic lines are not so nicely connected as the Synchron. Also the black keys just sound better in the Synchron. But there are the other little problems you also adressed. Sadly the wah-wah thing really distracts the playing experience for me... It's just unfortunate. Not sure what to do now. IF... one would have more money :D It's amazing how well the VI held up!

I am hoping a bit that when I have a better situation to buy the full Synchron Bösi (before end of June of course) and get a more realistic sound. I mean it's obviously a great sounding piano - but so is the VI as well. As a student a decision is needed now from my side.

Hello Paul,

1.is there a manual for this new interface with the key noise function?

2. could it be that the velocity seems so hard to me because the key noise control has no function and is therefore set to hard?

3. The same function is available for the ivory pianos. Among other things, it also makes the touch sound less hard.

Hello, Paul,

I've discovered something else.

From f3 downwards a key always sounds double. Once when pressed and then when released.

Hi Paul,

 

May I please have your advice here. I have just purchased a SSD 2 terrabyte drive, and one of the reasons is to try out the new synchron piano.

However, can I just have the Piano library on the disc by itself, and not with the other vsl samples on the other drive?

The other drive does not have enough room, and it is not an SSD either, so that's why I'm asking.

 

thanks for your advice here.

best,

Steve

Hi Steve, 

You can store your samples wherever you like, no problem!

Best, 
Paul

@Snoopy10 said:

From f3 downwards a key always sounds double. Once when pressed and then when released.

Yeah the release samples are inconsistent in the bass.  Those ones are too loud, but most are perfect and some are too soft.  There are a few areas that will stick out occasionally with an unexpected dry release, for example G#1-A1.

I'm guessing they'll get it sorted soon since the older Synchron pianos have always excelled here, unlike most of the pianos on the market.  Those D-274 releases were absolute perfection.

Maybe my first example was a bit unclear. With headphones, in this little excerpt it should be clear what I mean. A fix would be very appreciated. Edit, it's just the release sample volume. Reducing it solved the problem. It needs to be adjusted by hand.

Hi

 

 

Hi Paul,

 

thanks for that answer.  Sorry, I didn't realize you had replied. Ok, I'll check the link you gave me about the 14 day tryout.

 

thank you,

 

Steve

@Paul said:

Hi Steve, 

You can store your samples wherever you like, no problem!

Best, 
Paul

 

Thank you Paul,

 

that's great.

 

Steve 😊

Hi, I made a video demonstrating the microphones in the Bösendorfer and Steinway, and a little comparison of the Player Setting in Standard and Full library.

@Gamma1734 said:

I have another issue, I find the A6 and G#6 (but other notes as well) to sound very strange when pressed repeatedly, especially in the p to mf range. I attach a file. I don't know if I screwed a setting but it really distracts me from playing. Actually I just loaded the player setting and mixed a little bit some other mics in as well.

I've been noticing the same - it's very odd, almost like a squelch on the release, on mid velocity notes from around D5-B5. I hope it's fixable as it's spoiling what would otherwise be a very good piano.

Playing on headphones tonight, I noticed a few quirks with the stereo image on the Mid 1&2 mics. For example, on Mid1 C4-C5 are panned slightly left, C#5-B5 panned right, C6-F6 left, F#6 right, G6-B7 left, C8 right?!? I don't know if it's a 'feature' of the mic positioning, but it doesn't do this on the Steinway.

If anyone has a chance, could you play a chromatic run on the Mid mics and see whether you hear the same?

You can decrease the release sample level by a knob in the right page. When completely deactivating it, it sounds more like the Vienna Imperial, more crisp and dry. That effect goes completely away then. I attach a little chromatic scale playing. It's just loading the instrument, putting only Mid1 and Mid2 up at the same level, loudness normalizing it. That's all.

I .. think I can hear what you are talking about but it doesn't bother me personally when playing.

Maybe Mid1 and 2 cancel each other out in that example?

In this clip, everything is off apart from Mid1 soloed with no panning. You can hear the notes wandering from left to right, which I think is probably unintentional.

Oh! I immediately heard it! With only this microphone it is indeed quite distracting! Yes then apparently mic 1 and 2 are supposed to work together. I can live with that, I don't see a reason right now to specifically use only this mic. However, it is indeed stramge that the panning occurs at this very discrete point and so radically. Not sure but I would almost also call it a bug ..

Hi Paul,

 

I'm very excited - just wanted to let you know,  I've just purchased the standard library of the new piano.

Can't wait to try it out!👍

thanks,

Steve😃

Hi everybody,

I've recently bought the Bosendorfer and I quite like it.

I am however pretty disappointed by the pretty distracting panning issues I am hearing on the Mid1 (extreme), but also on the Condenser and Ribbon to a much lesser extent.

Other than that, while this piano sounds wonderful, it too suffers from an unnaturally quick and somewhat clinical sounding note decay, lack of sympathetic resonance and silent key, just like all the pianos in the Synchron collection. Not to mention the lack of a velocity curve control which, for such an expensive VSTi, is quite disappointing, to say the least.

Unfortunately, the best microphone in my opinion is the Tube, which does not come with the standard version. So I pretty much paid the full (introductory) price for one single microphone.

I don't expect the note decay to be improved (would be a welcome surprise though), and the lack of sympathetic resonance and silent key are being discussed in another thread, but I would like someone from VSL to acknowledge the panning issues and to hopefully tell us that a fix is in the works.

 

Thank you and stay safe

Hi, 

It's all about choice 😊

For the Bösendorfer Imperial, we have decided to add more stereo width with the Mid 1 Mic, compared to Mid 2. If you want to limit the stereo width, you can always do that with the included Power Pan. 

In general, and because it's another saturday night in front of my computer:
We're REALLY happy to hear all the input from all you piano-enthusiasts. We know where you are coming 

If every feature / bug fix was a matter of minutes, all our lives would be MUCH better, I guess. Just saying / wishing for a feature does not make it magically appear. Unfortunately.  

In the real world, feature additions and bug fixes often take longer, needs to be tested and documented. 

We have learned that promises are counter-productive for both our developers and user, so we usually announce features and fixed when they are ready for the public. 

I know you understand, and I hope it will help you to have a little patience 😳

Best, 
Paul

@Paul said:

It's all about choice 😊

For the Bösendorfer Imperial, we have decided to add more stereo width with the Mid 1 Mic, compared to Mid 2. If you want to limit the stereo width, you can always do that with the included Power Pan.

Hi Paul,

It's not the width of the Mid1 mic - it's the fact that it doesn't pan consistently from left to right. It jumps around quite substantially from left to right between octaves and also between some individual notes. Just play a chromatic scale using only Mid1 and you'll see what I mean - or take a listen to the clip I posted above.

I don't think this is by design? It wouldn't make any sense. I'm assuming it's a bug.