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  • New Product -- Bosendorfer Imperial -- Demos online

    I'm very proud to announce an new Vienna Instruments Collection.
    The Bosendorfer Imperial

    You can find informations about this product on our product page here:
    http://vsl.co.at/en-us/211/412/287.vsl

    Guy Bacos demonstated his fantastic piano skills and sent us four live performed pieces of his classical reportoire:

    L.v. Beethoven - Moonlight Sonata 3rd mov
    http://vsl.co.at/Player2.aspx?Lang=13&DemoId=4956

    Frederic Chopin - Grande Polonaise op 53
    http://vsl.co.at/Player2.aspx?Lang=13&DemoId=4954

    Frederic Chopin - Valse in Bb op 18
    http://vsl.co.at/Player2.aspx?Lang=13&DemoId=4955

    Wolfgang Amadeus Mozart - Sonata K284 1st mov
    http://vsl.co.at/Player2.aspx?Lang=13&DemoId=4957

    thanks a lot Guy
    Herb


    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.

  • So is this available with your distributors now? Or will there be a dealy of a few days or weeks?

    thanks

  • Best Service will receive the products tomorrow, Thursday.
    Ilio maybe on Friday, or Monday next week.

    best
    Herb

  • Hats off to Guy and VSL - - sounds really great. One question - - no una corda articulations are listed - - are these planned or is judicious use of the master filter settings untended to to substitute for this? Also what are pedal crossfades - do these reproduce 1/2 pedal positions? Thanks.

  • No una corda samples - the content would be too big. (the double amount)

    Pedal Xfade are no half position pedal samples, they are special resonance samples which are faded into already ringing pedal off samples (when the pedal is pressed).

    best
    Herb

  • I used to play the Moonlight many years ago (along with many other pieces): I must say the third movement was always the piece that filled me with absolute terror.

    Tried to manage to Chopin Polonaise but I was always defeated by the E major section (too many octaves for my liking!!!). Curiously enough, though, I didn't have that much difficulty with Liszt's FĂșnerailles.

    Just listening to Guy's performance now...

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    @herb said:

    No una corda samples - the content would be too big. (the double amount)

    Pedal Xfade are no half position pedal samples, they are special resonance samples which are faded into already ringing pedal off samples (when the pedal is pressed).

    best
    Herb


    Herb, the solution could be on a futur update : be able to ajust faders limits. So, if you press the pedal down, the fade go to the minimum you set.

    Good idea ? [[;)]]

  • Sounds good Guy. Did you find it limiting at all having only 7 layers? Dynamics sound fine on the performance - just curious from a 'players' perspective.

    Herb - can you prepare demo of something contemporary, 'film-like' - to hear that in that context. Be nice if there was "C"'s all octaves and one full octave to test. I have 6 pianos (two of which are Bosen's). [:)]

    Before I make it seven, I want to be sure this is 'unique' - one way or the other.


    Many thanks.

    Rob

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    @Rob Elliott said:


    Herb - can you prepare demo of something contemporary, 'film-like' - to hear that in that context.
    Rob


    I'm just mixing a Batman like demo I wrote (Ă  la Elfman) , there's some Bosendorfer in it...the piano in it, a few bits here and there, with the close mic, stands out like no piano I've heard before. Should have it here soon.

  • Hi Guy-- I wish I had half your pianistic skills!!

    Which mic set was used for these demos? Could you also post one of these performances using the other mic set so that we could compare the sound differences?

    I'd also love to hear something atmospheric with lots of pedal-- anything by Debussy or Ravel would do nicely. (Not that you don't already have enough to do [:D] )

    Best,
    Jay

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    @Another User said:


    I'd also love to hear something atmospheric with lots of pedal-- anything by Debussy or Ravel would do nicely. (Not that you don't already have enough to do [:D] )Jay


    There were so many pieces I wanted to do, I ran out of time and juice since I did those in a few days, but within the next few weeks I could probably add a few more, I even would like to record some Oscar Peterson transcriptions I play. I'd also be open to requests.

  • 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

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    @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

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    @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

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    @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

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    @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.

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    @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.