Guy, fantastic playing and beautiful music making. You asked for requests so I'd like to second Jay's suggestion of Debussy and Ravel - - and perhaps some quiet meditative Chopin piece or one of the Brahms Intermezzi. I know you're busy, but these requests simply reflect a very high estimate of your pianism and the beautiful instrument you played on these recordings.

Along with Rob, I was wondering whether you found having only seven velocity layers limiting and (independently of Rob) if you've tried simulating the una corda pedal with the Master Filter.

Thanks for your work here.

Guy - what about my question about the 'players perspective' - enough velocity levels?


Rob

Nice playing, but I don't really like the sound of this piano. Too harsh and clattery for me I'm afraid. However, even though I'm sure that there are circumstances that it could be useful, I can't see myself making a purchase for this product; sorry.

DG

@DG said:

Nice playing, but I don't really like the sound of this piano. Too harsh and clattery for me I'm afraid. However, even though I'm sure that there are circumstances that it could be useful, I can't see myself making a purchase for this product; sorry.

DG

Daryl,

Yes, the Bosen is as you describe but what I have discovered with the 2 Bosen's I own (not this one) is that in many 'busy' arrangements or jazz, rock, it sits better in the mix.

But it may not be what you need. I had not purchased a Bosen for years before for the reasons you stated but once I had it, Currently, I couldn't give it up - for certain project types.

Rob

@DG said:

I don't really like the sound of this piano. Too harsh and clattery for me DG

I'd be curious to hear one of the pieces scaled down 1 velocity layer and with the distant mic only. Perhaps this would produce a different impression.

Thanks,
Jay

@DG said:

I don't really like the sound of this piano. Too harsh and clattery for me DG

I'd be curious to hear one of the pieces scaled down 1 velocity layer and with the distant mic only. Perhaps this would produce a different impression.

Thanks,
Jay
Perhaps, but I've never played a Bosendorfer that I liked.

DG

@Rob Elliott said:

Guy - what about my question about the 'players perspective' - enough velocity levels?


Rob

Maybe on the Mozart and the slow sections in the Chopin I was more limited than say a real piano but because of the rich sound of the close mic I didn't mind that, and I'm usually very picky for sampled piano, what I liked about Bosen is the nice sound
it has, so it doesn't die out too quickly as many do.

Ok, I'll pull out some Debussy...

I admit Bosen has a different sound, it took me a few days to adapt and Miklos as well, that's because (I think) of the Close mic recording, but at the same time once you get use to that you just accept it as another type of sound, but once again, I like that rich quality, because Miklos and I compared versions, we had versions of the same piece with close and distant mic, the one with distant mic only although a bit more realistic was far from sounding as good, it depends on what you're after also.

@stevesong said:

Along with Rob, I was wondering whether you found having only seven velocity layers limiting and (independently of Rob) if you've tried simulating the una corda pedal with the Master Filter.

Thanks for your work here.

There wasn't any obvious places that needed una corda in these pieces, or was there?
Of course the 1st mov of Moonlight has una corda indicated by Beethoven, so I'm glad I didn't choose that mov....But 99% of the dynamics were done in a normal playing way.

@DG said:

Nice playing, but I don't really like the sound of this piano. Too harsh and clattery.

100% agree.

A low-cost VI Opus 3 would have been more appreciated.

Agreed, I'm not a fan of Bosen's either...very brittle sounding pianos, the sampling is not to blame. They also have a very odd frequency thing going on....like talking through your nose[[;)]] I've heard it in the Ivory piano, the East West, and in person on a real one. Wish it had been a Steinway.

Also, I've noticed a propensity for VSL to always demo their instruments using a classical piece, but I'd be willing to bet that most users are modern composers and arrangers who would appreciate hearing modern, real world examples of instruments being used in contemporary genres. The lack of attention to this matter is exactly why the unison horns don't go up to "D". [[;)]]

TH

I realize that it has a lot to do with personal taste, but I really like the full, meaty, rich sound of this instument. Mic placement, of course, has much to do with tonal variations that are perceived. I will be interested to hear the distant mic as well. I will be ordering this.

Man, Guy really knows how to play. I just enjoy listening to your playing, thanks!

Some may not lve the sound of this piano, but I, for one, find it closer to the sound of a real piano than any other sampled piano I've heard so far. In other words, you might not like the sound of the piano that was sampled or you might wish it had been voiced differently, but it sounds real. One of the things that I noticed is that notes in chords sound like they interact (fm) as they would on a real instrument. In fact, although I might wish a Steinway had been sampled or or that this Bösendorfer had been voiced with slightly softer hammmers, I find I like this piano a great deal - - not t mention Guy's terrific playing.

another positive point : 5 repetition per note ! the problem with other libraries turn around this.

Is it the close or distant sound ? could be fine to compare two versions (close and far) of "The Flight of the Bumblebee" [8-)] [[;)]]

Guy just sent me two another great demos, this time in a lyrical and softer style.

Claude Debussy's Clair de Lune
http://www.vsl.co.at/Player2.aspx?Lang=13&DemoId=4964

Frederic Chopin's Nocturne op9_No2
http://www.vsl.co.at/Player2.aspx?Lang=13&DemoId=4965

Both demos were performed using the Close Mic version.
If you click on the "Tutorial Download" button, you can download a rendering of the Far Mic version to compare.

Guy told me that he would have performed a little different, hearing the Far Mix version during the performance, but it's OK for comparison purposes.
Again Guy's interpretation is live performed, with hardly no edtiting afterwards.

thanks a lot Guy
Herb

Does the far mic version have any other processing or reverb on it? Is this the out-of-the-box sound?

Thanks,
Jay

Much better.

May I have a Ligeti Etude performed live on the Imperial?

n. 1 ("Désordre") or n. 12 ("Entrelacs") will be perfect.

@Another User said:

Does the far mic version have any other processing or reverb on it? Is this the out-of-the-box sound?

I think it's rendered with the same Altiverb settings like the dry version to enable an 1:1 comparison. The reverb of the far version is defenitely not out of the box.

best
Herb

@JBacal said:

Does the far mic version have any other processing or reverb on it? Is this the out-of-the-box sound?

Thanks,
Jay

Jay, both versions, close and distant mic, I processed the exact same way, same altiverb, but when i tried other concert halls rev. they each sounded totally different, so it comes down to a question of personal taste.