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Wie kann es eigentlich sein, dass man bei so einem ambitionierten Projekt es schafft, den Flügel nicht vernünftig stimmen zu lassen?
Ich bin schrecklich enttäuscht und verstehe es einfach nicht. Die Bässe sind ja noch schön und dann wird es grausam. Diese Samples sind ihr Geld nicht wert und ich hoffe, dass da nachgebessert wird. Also "VIENNA IMPERIAL II - jetzt auch mit wohltemperierter Stimmung" Für alle bisherigen Käufer die kein Honkytonk Piano wollten...
Hi cremanmusic,
the production of the Vienna Imperial was exlusively supported by Bosendorfer. That means the very best piano tuner of the Bosendorfer company supervised the whole recording over two month, retuning it twice a day. That means the piano was tuned in summary more than 100 times.
So that's the best we could deliver. It would be much appreciated if you can point at any Imperial demo on our website which gives you the impression of a "Honkytonk" tuning.
thanks,
Herb
Kinder, es ist Weihnachten!
Ok, I'm a old sack and my english is very poor, but if someone isn't be able to recognize that this is an international place, for me it's pretty clear why he isn't to be able to recognize that this piano is worth every cent the money charged for...
Sorry, I don't want to become abusive towards you, cremanmusic, but your style is affronting. If you don't satisfied, let it know the w h o l e world, not only the infinitisimal part of mankind which is speaking german.
I've read a lot of stuff in this forum about detuned keys, (paradoxical: the common sentences tell us the vsl samples sometimes are to smooth and now VI Pro has a feature called detuning) IMHO, I believe somebody didn't ever listen v e r y c l o s e (like the mic positon!) and
v e r y precisely (not only) to the upper register of a real grand piano. One Solution: It is advisable sometime to use the distant mic position! Should sound different from the close or player position.
Whats happen with such short strings you can listen much more obviously if you have a Yamaha CP 70 or 80 (sample or real). Listen there to the lower register strings, they are short and thick so the effect is very obviously. It sounds always detuned even if the strings are measurable tuned. Listen to the different in the phase of the attack and in the phase of the release. It's n o r m a l (on earth). And makes the beauty of music (for the ears of human nature).
Steinberg "The Grand 3" has a CP 80 quite good sampled. And by the way you can make a comparison to the Bösendorfer of this package.
If you don't have it, send me an e-mail with your adress. I can send you the whole package for chrismas present (including the license transfer.) I don't need it anymore. Than maybe you are satisfied, and all we are pruned of rants von solch verstimmten Bösendorfern.
Kind regards
Frank
Listen to the "Liebestraum" Demo, for example. Its definitely not in tune. its not Honkytonk, but well tuned is something really different.
Guy Bacos did a great job! Reminds me on the book "Vom Konzertsaal zum Tonstudio" by Glenn Gould. He did much thinking about the perfect interpretation and the using of cuttering to get it. What a pity that he couldn't experience this times now.
To the problem: Well, I hear some modulations, but they don't disturb me and my pleasure to listen this music.
Maybe the feeling about tuning is some different from person to person. A know some violinists they can't listen to every welltuned piano. Because it's "wohltemperiert" - and not "rein". It's experience and mind. Somebody feel punished with a absolute hearing. They can't listen to any music on historical instruments because the tune is much deeper. What does it all mean? It is a very complex theme. In the case of the vienna imperial could be, that the recorded instrument has his peciuliarities - like every instrument on earth. About tuning I have read a very good chapter in a book of Nikolaus Harnoncourt. Could be, but I'm not shure "Vom Denken des Herzens".
Best
Frank