If you can provide a good midi file I can render it with both.
There is a similar thread in Piano world forum about it and one of users on page 2 near the end of page (at the moment) compare this two pianos but no demosAnyone with both the D and CFX ... possible to post a clip comparing the two?
I'm interested in the D ... but I really need to quite spending money.
This is the key difference I think, particularly in dense chords and large runs with the sustain pedal engaged. The stacking & summing of separately sampled notes surely wouldn't have the coherence of those same notes played and recorded as a single performance. I suspect various harmonics would be excited and triggered in the real performance which wouldn't happen (or would happen differently) in the 'sample-stacked' sound.How harmonics blend together in a real space
Post is long, and I don`t know if he has something against so here it is direct link to that postCan you repost it?
Thanks, love it!For the Falla, I used in the factory setting: 01 Decca Tree Multi-Mic Presets/Steinway-Concert_DeccaTree, but reduced a bit the Main fader to what you see. There is a lot to explore in that area, I've only started. For the other ones, it might be VSL who chose the mix, so I'm not sure, but if you really want to know, Paul can fill you in on the VSL forum on the Steinway thread.
Wow, interesting range of opinions. Just goes to show that it's not a one-size-fits-all world when it comes to piano samples.Post is long, and I don`t know if he has something against so here it is direct link to that post
Interesting comparison! To take it a bit further: That's what mixing engineers (or generally spoken: the art of of mixing and post-pro) are here for.Think about photography. I can go to a beautiful spot in the world, take a picture with a good camera (or even a good phone, these days), and the combination of my camera settings and what I do with the photo afterwards (adjust in PhotoShop, add filters, etc.) can give me an image that looks WAY better than what I saw when I was really there, looking at it with my own eyes. Colors more vibrant. Lighting more directed, and artfully illuminating what we most want to see, depth of field separating background from foreground.
Maybe we should be expecting piano VIs to be a LOT better than the real thing. We've arrived at that point with photography.
Well, I'd say major decisions that can have enormous impact on the end result can be made anywhere along the way. Continuing the photo analogy... Ansel Adams didn't just go out and snap pictures hither and yon and then let the people at the mail-in photo lab turn them into masterpieces.Slighty OT:
Interesting comparison! To take it a bit further: That's what mixing engineers (or generally spoken: the art of of mixing and post-pro) are here for.
We wouldn't expect out-of-the-box solutions for that perfectly 'shopped photo either, would we? The vibrant colours, the separation from the background etc. is what happens after individual, context-dependent fine-tuning and tweaking of different parameters. Everything we need to start is a picture of a beautiful spot in the world, or in our case: Good audio recordings. The rest, the "better than life"-part, is up to us, the piece of music we played, and the mixing decisions we take.
None at the moment, some works but aren't mine and not publishied yet... I could try to record something but in a few days (busy at the moment).Thanks! I'm not really picky ... just want to hear the tone of maybe the Concert vs Concert, or Pop vs Pop. Just regular chordal things would be awesome. Do you have anything like that as MIDI?
Hi, this is not my field at all but as a physicist I could share with you some reasonings.It might just be me, and my ears, but there's something about playing dense chords on sampled pianos vs. live on a real piano (and definitely not singling out VSL, here) that makes me hear things as somewhat distorted. It just seems to me that all the individually sampled notes, played together, creates what I perceive to be distortion, that I don't hear on a real instrument when everything is combining on one, single soundboard at that precise time. I don't have a scientific explanation, but I would imagine that in the combining samples notes, we might be getting an extra quantity of resonances that we don't get when it's all simultaneously on one soundboard. It's more noticeable to me with brighter instruments. It would be an interesting to research (set up A/B comparisons of combined notes vs. notes played together on the same piano, with the same mic setup).
I also seem to think that mixing multiple mics makes things worse.