I agree; the VSL piano is a gorgeous thing. I look forward to the time when it gets expanded dynamically.
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Careless critisism is like swinging a knife around carelessly you might think not much energy is going into it but if you cut somebody with it they're going to be perhpas more incensed at the carelessness of the act. A considered critique is more appropriate.
If you're referring to my remarks about the inappropriateness of using hi-cut on the beautifully recorded Boesendorfer samples then I believe I did provide a considered critique. If you weren't referring to me, then you too are being careless in your criticism.
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You know what I meant. Your first post was a criticism on the piano in a public forum where potential customers of VSL read and judge. Therefore your comments should have been better posed, or at least placed as a question IMO.
I believe the hi cut on the piano is not mentioned with the intention of being a soft pedal "work-around"! but more way to tonally colour the piano - like eq! Pretty straight forward - actually it sounds very good to darken the sound a bit and I've used it for that purpose and sounds good
Your point about the soft pedal samples on the whole is valid in itself, I'm glad VSL responded and let us know that that is something they are working on as it's very cool! I just don't like the manner in which that information was extracted from them by being forced to defend the library that really, doesn't need defending. Sorry.
Miklos.
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hi everybody at vsl-forums...
just read the whole discussion about the boesendorfer and uc.
i definetly have to add, that this instrument is simply great.. with or without uc... ok, would be nice to have, but to get the whole perfection, simply by the "real one" [[;)]] but for software, this one is an enlighment!!! deep respect (as much as the solo strings i also own)
thats all have a good time with your instruments (as much as i have)
markus
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Yes, it's indisputably a very good sampled piano, but clearly no sampled piano is perfect for all purposes and styles. I find it a little unyielding for reflective, improvisational solo work and ideally I would have preferred more than seven dynamics - several older piano libraries use as many as twelve.
Reproducing the effect of the sustain pedal has long been difficult for sound companies. The usual approach is to record complete sets of pedal-off and pedal-on samples and switch over to the latter when the sustain pedal is pressed. I believe this is what VSL have done with the Bosendorfer, it's effective but not revolutionary. I agree that the repetition samples are a first.
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@Conquer said:
...The usual approach is to record complete sets of pedal-off and pedal-on samples and switch over to the latter when the sustain pedal is pressed. I believe this is what VSL have done with the Bosendorfer...
that's a wrong guess. details of the pedalsound recordings and how it is used could be seen in this video.
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There are pedal up and down samples (nothing spectacular),
but there also pedal - resonance samples recorded for each key.
Here you here all resonating strings except the strings of the original performed key, which are damped initally after the note on (the resonances of the other strings keep on ringing)
These resonance samples are faded in, if you perform any pedal up samples, hold the keys an press pedal down. These resonance samples will be added.
All Matrix files with "Xfade" in their filename are prepared mappings using these resonance samples.
If you load the Matrix file in any default VI Preset you only have to assign your sustain pedal controller to the "Cell-XF" slider.
If you load a Bosendorfer Preset-File this controller is already setup.
More information for this setup issues you can also find in the dedicated Bosendorfer manual.
best
Herb
