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PaulieDC said:
I almost hate to ask this question, but I saw some posts about people buying the Key every two years. Why would you have to buy it again?
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I believe the issue is that VSL only covers the licenses on the keys for 2 years, so if they go after that (get zapped, are unrecognized, or just die) you'd have to buy the instruments all over again. I think the idea is if they buy a new key and transfer their licenses to it every 2 years, the licenses remain "insured" against the key dying (they allow you to download them again).

Now I don't know if this has been changed recently, as it has always been met by complaints. I also have never bought a VSL instrument (besides the free ones that come with VE Pro) for this very reason. Since I've seen iLoks get zapped in the past and need replacement, I'm thankful iLok will replace all your licenses up to once a year if you lose them (I'm sure an email explaining could work if you have it happen twice). But VSL, perhaps until recently, has always taken a hard line against replacing lost licenses, regardless of how it happened.

For me (unless this has changed) is a bigger deal than price or even how good it sounds, if it means I'm paying $450 that I may have to pay again someday. You can get almost any other piano for that price these days. For me the potential hassle and frustration is not worth it.
 
X-Bassist said:
I believe the issue is that VSL only covers the licenses on the keys for 2 years, so if they go after that (get zapped, are unrecognized, or just die) you'd have to buy the instruments all over again.
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Are you sure? I dont think that's the case. I think that once you buy a license, that's it - you own it. Maybe losing the dongle is different, but if the dongle fails, you should not have to buy a new license.
 
That's absolutly incorrect. Let's summerize:
1) If your Steinberg eLicenser has warrenty (2 years) and breaks you'll get a replacement license and new hardware dongle for free.
2) If your eLicenser breaks after the warrenty, you'll get a replacement license for a small fee. You have to buy a new eLicenser yourself.
3) If you lost your eLicenser or it got stolen (with or without warrenty), you'll have to pay 50% of the original price for replacement licenses.
4) If you have the VSL protection plan for 70€/2 years, you can get instant replacement licenses in case 1-3. You need to buy an additional eLicenser to activate them.
 
I am also torn between standard and full version. If anyone have full Steinway version, please give some light on this dilemma. Thank you all.
 
Ben said:
That's absolutly incorrect. Let's summerize:
1) If your Steinberg eLicenser has warrenty (2 years) and breaks you'll get a replacement license and new hardware dongle for free.
2) If your eLicenser breaks after the warrenty, you'll get a replacement license for a small fee. You have to buy a new eLicenser yourself.
3) If you lost your eLicenser or it got stolen (with or without warrenty), you'll have to pay 50% of the original price for replacement licenses.
4) If you have the VSL protection plan for 70€/2 years, you can get instant replacement licenses in case 1-3. You need to buy an additional eLicenser to activate them.
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As always, it would be nice to know the reasoning behind VSL's insistence on insurance to protect a software license past two years.
 
NYC Composer said:
As always, it would be nice to know the reasoning behind VSL's insistence on insurance to protect a software license past two years.
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Easy: They license the eLicenser technology from Steinberg and have to pay for each key or replacement key they create.
 
I just ran the updater (which I didn't see announced until reviewing this thread late tonight). The one track that used that Mid mic, did have a funny anomaly that I couldn't explain earlier but which is removed by this fix for "C6" ringing. I am impressed by the attention to detail!

I'm still using C. Bechstein Digital (which I only bought quite recently and which quickly pushed almost everything else to the curb), WAY more than Synchron Pianos, but it may just be because I'm able to more quickly tweak it per song vs. getting lazy and trying to stick with a catch-all setup for Synchron.
 
Mark Schmieder said:
I just ran the updater (which I didn't see announced until reviewing this thread late tonight). The one track that used that Mid mic, did have a funny anomaly that I couldn't explain earlier but which is removed by this fix for "C6" ringing. I am impressed by the attention to detail!

I'm still using C. Bechstein Digital (which I only bought quite recently and which quickly pushed almost everything else to the curb), WAY more than Synchron Pianos, but it may just be because I'm able to more quickly tweak it per song vs. getting lazy and trying to stick with a catch-all setup for Synchron.
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Hi Mark,
Do you have the full edition of the C.Bechstein Digital? The demos on their website are not that informative, so I'd be interested to know why you rate it so well.
 
Yes, full edition, and I have zero awareness of what is missing in the cheaper version. I just realized also that there's supposed to be an up-date a month or two back, but maybe it is ready and no emails were sent out. There are some Mac-only bugs with the previous update and some workarounds to deal with that, in terms of preset-loading, and this also means the new mic choices aren't available to me yet, except in bog settings with no tweaks at all. I'm doing OK with all the other mics so far though.
 
Mark Schmieder said:
Yes, full edition, and I have zero awareness of what is missing in the cheaper version. I just realized also that there's supposed to be an up-date a month or two back, but maybe it is ready and no emails were sent out. There are some Mac-only bugs with the previous update and some workarounds to deal with that, in terms of preset-loading, and this also means the new mic choices aren't available to me yet, except in bog settings with no tweaks at all. I'm doing OK with all the other mics so far though.
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OK. What are the main reasons this sampled piano has "quickly pushed almost everything else to the curb" for you?
 
It's a chameleon, covering aggressive styles and ambient as well. Probably also true of Synchron, but I just haven't had enough time yet to fine-tune it for every context. With Bechstein, I find I am able to work fast and furious and get final results that are mix-ready, for almost everything I write in any genre, with or without pedaling, multi-strike staccato, etc.

The material where I am finding even my current Synchron Steinway preset to work better than Bechstein in cutting through the mix at an appropriate background volume level, is one where I'm doing a sort of stride style, with gigantic dynamic range, pedaling, and fast repeat notes (something I also do in latin styles).

Over the end-of-year holidays, I ended up replacing almost all of my Ravenscroft, Fazioli, even Steinway, with C. Bechstein Digital. I'm using Wavesfactory Mercury for a few pop/rock tunes, and Orange Tree Samples Rosewood on some pop/rock as well (I'm still having better luck with it than Impact Soundworks Pearl, even after lots of tweaking, but am starting to get close with Synchron Yamaha CFX -- though sometimes it's the S-series sound I want).

On a separate note, here's a hint that I haven't yet found a project to apply it to: sometimes a Fortepiano might work better in the mix, when the piano part isn't front and centre but needs to cut through consistently. It's a great idea, but the only project of mine that I've found so far where the piano needs to be heard below the lead instruments, is the one where I'm using Synchron D-274. I have another one where piano is low except for the solo, but it alternates with electric piano (Rhodes) so a fortepiano would not mate well in that situation.
 
Mark Schmieder said:
It's a chameleon, covering aggressive styles and ambient as well. Probably also true of Synchron, but I just haven't had enough time yet to fine-tune it for every context. With Bechstein, I find I am able to work fast and furious and get final results that are mix-ready, for almost everything I write in any genre, with or without pedaling, multi-strike staccato, etc.

The material where I am finding even my current Synchron Steinway preset to work better than Bechstein in cutting through the mix at an appropriate background volume level, is one where I'm doing a sort of stride style, with gigantic dynamic range, pedaling, and fast repeat notes (something I also do in latin styles).

Over the end-of-year holidays, I ended up replacing almost all of my Ravenscroft, Fazioli, even Steinway, with C. Bechstein Digital. I'm using Wavesfactory Mercury for a few pop/rock tunes, and Orange Tree Samples Rosewood on some pop/rock as well (I'm still having better luck with it than Impact Soundworks Pearl, even after lots of tweaking, but am starting to get close with Synchron Yamaha CFX -- though sometimes it's the S-series sound I want).

On a separate note, here's a hint that I haven't yet found a project to apply it to: sometimes a Fortepiano might work better in the mix, when the piano part isn't front and centre but needs to cut through consistently. It's a great idea, but the only project of mine that I've found so far where the piano needs to be heard below the lead instruments, is the one where I'm using Synchron D-274. I have another one where piano is low except for the solo, but it alternates with electric piano (Rhodes) so a fortepiano would not mate well in that situation.
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Thanks for your comprehensive reply Mark. You've really piqued my interest again in the C.Bechstein digital grand. Your comment about the VSL piano sitting better as a background role in a mix makes sense given the Synchron Stage mic options and ambience, although I feel I'm well covered for that type of sampled piano. Surprisingly, I recently discovered the much maligned Aria Silk Fazioli seems to be ideal for that role (although frustratingly inadequate for anything else).
 
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