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    Hi Steffen,

    When I heard the CFX in the Grand Fantasie de Don Juan, I heard the non-centered version. I asked myself: "Does this instrument sound like this?" So I started to record the first few bars, just to hear what is possible in the sound. In the meanwhile you changed the sound of the piano (was it just centering?). The start of the Fantasy is more convincing now!
    Just as a curiosity I place here my first bars for a comparison. You are more subtile in the dynamics.
    I place this to compare the overal forte-fortissimo sound of the instrument. I'm not intending to work out the whole Fantasie, for me this was just a try out in the forte-fortissimo region of the instrument.
    I place 2 versions, one just the piano without any tweaking, the other with some compression.

    A little question: in the scores on internet that I saw, the piece begins in d minor. Your version is in e minor. Do you have a reason for that? Is there another version as what I saw?


    First bars Grande Fantaisie de Don Juan (with compression)

    First bars Grande Fantaisie de Don Juan (without compression)

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    You are realy funny,😃

    if you are riight, than you should also teach Lang Lang to play this piece

    since his "d-minor" is compared with your "d-minor" obviously as wrong as mine

    (Wow I made exactly the same mistake as Lang Lang does ....holy sh...)

    (...or perhaps your "d-minor" is simply "a bit" to low 😛)

    Great comment!🎉

  • What do you mean by "teaching". It is an honest question. I found several scores on the internet and all of them started d-minor... nothing more and nothing less...

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    And you "honestly" believe me and Lang lang are playing "e-minor" honestly thats realy funny.

    Just compare the Lang-Lang Video with your recording. Than you will immideatly understand what you can "teach Lang Lang" since he playes exactly the same "d-minor" as I does.

    Obviouslly yours is astonishingly low... and that you didn't noticed that is realy funny😃

    (In general it is pretty helpful, to know a piece and how it sounds if one intends to talk about)

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    Hi Steffen, I just heared Lang Lang as you said. And "honestly" 😃, he  started with a d-minor chord.
    On my computer I hear the d-minor chord. But you can also see it. When you look to his right little finger at 0:05, you see that he touches the 'a', and not a  'b'. and at 0:20 the right little finger is playing a 'g' and not an 'a'. I think there is something wrong with your soundcard (I had that before, 44,1 KHz and 48 Khz sampling confusion make a difference of about a major secund.) 


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    Hi Steffen, and the story continues....
    After this I checked my wave files, and surprise, surprise, they sound here as a c-minor chord. So on my computer something went wrong indeed. Because I'm sure, I played the d minor chord... I go to look what this is all about..😕

  • No problem I thought it would have had a reason like that

    be sure, no one would ever try to transpose that piece in e-minor ever, it is for the few who ever dare to more than enough just to do that music in its original key.

    Just try to listen it at least as a whole and not only the very first already irritating radical bars I hope there is enough reason left to enjoy, since it is imho realy an extraordinairy rich piece in nearly every possible sense .....

  • I completely agree with the sentiment of the opening post (and great playing!), but I would make a plea that demos should cover a range of styles and capabilities, not just focus on virtuoso music from the 19th and early 20th centuries.

    As many professional pianists know, to make a Mozart sonata sound convincing on a modern concert grand is a lot harder than a Liszt Etude.  Both have their place in demos: I want to hear the full dynamic and tonal range in a great romantic work, but I also want to see how the instrument handles something much more exposed.

    I also want to see some purely technical demos.  Playing a simple scale is hugely informative for both acoustic pianos and VSTs.  If there are flaws in an instrument, they are much more likely to be apparent within a single demo that is simple and exposed rather than complex and sonorous.

    So let's have great romantic works by Chopin and Liszt, let's have some complex early 20th century works by Ravel, but let's also have Bach fugues, Mozart sonatas and simple scales.  Let's also ban all post-processing (no compression/expansion, no EQ), and then we would have a set of demos that could really show the capabilities and limitations of the instrument.

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    @MMKA said:

    Hi Steffen, and the story continues....
    After this I checked my wave files, and surprise, surprise, they sound here as a c-minor chord. So on my computer something went wrong indeed. Because I'm sure, I played the d minor chord... I go to look what this is all about..😕


    Well, problem solved. The pieces start now with a 'real' d minor chord. And thanks Steffen for your attention. Because by this I know now how to work around a bug in the DAW! So the confusion worked out somethng good for me.

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    @fahl5 said:

    OK since so few dare to really test the new piano here is what I would consider a serious testing.

    Beautiful playing! Thanks for the sharing.

    Did you actually record/play directly with the Synchron CFX? Or it was a playback from a MIDI file that you recorded with another virtual piano, esp. the Liszt's Don Giovanni?

    Comparing with the other versions you did, it seems to be the latter case. It will be very informative if you could record/play even just a few bars with the Synchron CFX. I think that will be a fairer comparison.

    Just my two cents.

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    Hi mobileavatar,

    thank you for your kind reaction. I'll try to seriously answer your questions:

    1) "did you play"?

    Honestly meanwhile I studied Piano with pretty good Profs in Austria, I currently "play" on my Piano daily at home but just for my personal fun. My personal Opinion is, that when it comes to produce recordings, we could work that much more reflected, detailed and prezise, with using the technic we have today than with trying to do it the old comparable clumsy and unprezise "craftsman" way which is so much distracted from the essential musical decisions, by tons of for us completly overcome "technical" limitations . So I always start from clean mididata  which I always creat directly from the score to avoid any unnecessary additional data which is not part of the score. Than I do what I have learned while studiying the piano: reflecting and shaping each very moment of the piece.

    2)"was it a playback from a MIDI file"

    You have listened very attentive👍 Meanwhile as I already described all of my recordings (at least since 2008/2009) are always playbacks of "pure" mididate which I edited to give them my interpretational intention for this certain recording I am still searching for the right Piano-sampleset to do those pieces.

    Yes I started to work on those pieces with the Synthogy Studioo Grand when they were out, but in some aspects I felt the piano was not that much intended for the needs of this kind of music. I adapted that recording later on the Bechstein-digital which seemed to me in many aspects one of the outstanding well done recent Pianosamplesets on the market (meanwhile it is a Bechstein: yes it has perhaps a bit more characteristic personality in its tone - I always can recognize a Bechstein even if it was simply a Samplesets - but this brings in a few aspects of the avilable palette of colors reactions which are not as warm as I would expect it from a good Steinway) So indeed I am still looking for the ideal Pianosound for that piece.

    But yes I worked much more detailed to adapt my interpretation on the Bechstein, than I did for the Yamaha. Meanwhile when working with the Bechstein I was already surprised how much of the tonal decisions of the Studio Grand were likewise apliable for the Bechstein. For the Yamaha-Version I confess: I was not that eager to individualize my interpretation. Since sorry it is a Yamaha: everything is well done and good balanced  the overall sound is good, but....  I personally feel this it still not the Piano which would realy replace my current Bechstein-Version. This is explicitly just a matter of my personal taste and definitly not a matter of Quality, (which is superb as usual - or even more - when it comes to VSL-Products).

    If the Synchron Steinway brings us, what can give a Steinway such an outstanding Pianosound, Than I probably would not hesitate to spend the work to seriously adapt this music in every detail forr a final version. But this is just my personal opinion. It is the Problem I personal do have with Yamaha: good but without the moment which unfailable touches me in a good Steinwaysound. Thats why you currently get only a rough adaption for the Yamaha. If the Steinway inspires me more I'll spent of course more work to get the best out of it. 

  • Hi fahl5,

    Thank you so much for the detailed explanation. I just feel you have more emotional attachements with the other pianos. I think with your skills, you can surely do the same with the Yamaha. IMHO, the current version does not do justice to the Synchron CFX.

    In terms of colors/attacks/weight, surely many of us would prefer the Steinway or Bösendorfer instead, but in terms of sampling precision, probably this is the bleeding edge among the three.