I\'m interested in impressions of the big Boesendorfer sample. I used to get to play a \'small\' Boesy regularly (no extra keys on mine) and it was a wonderful piano. How do you feel about the playability and tone of this sample set?
I\'m planning on springing for this or the big steinway soon, I like the idea of the extra set of dynamics and the Bos tone is near to my heart if the sample is nicely done. I\'ve heard what the Steinway can do (pretty durn nice, possibly a bit too abrupt transition to ff, the demos made the Bos sound a bit more intimate with a clearer bottom, is this an accurate impression?)
I hope I haven\'t responded to this question before by email, but here goes. As some of the other threads have revealed: the Bos might be passable with the appropriate reverb on the appropriate speakers. I listened to a dry and a wet sample through a pair of Kefs (not the best, but fairly accurate) and, alas, like many others, was not impressed. The real thing (the real BOS)is as good as it gets in pianos. And you\'re dead right that the extra layers provides a smoother output. But the tonal quality is very hard to stand (speaking for my ears only, of course). I think Truan\'s Steinway B has the best tone so far. But it\'s not believable at pp and ppp; and, as you note, the transition from layer to layer is appallingly and painfully obvious.
I\'m hoping Trachtman is addressing these sorts of issues. And I\'ll be revisiting his sample at some point. My problem with his Steinway, as I\'ve said eslewhere, is that it sounded very \"thin.\" Oh yah, and on that subject, I forgot to mention my other pet peeve about the Truan instrument, the bass from middle C to about an octave below it is painfully \"Twangy\". For all that, it\'s still the best (most believable) sample to date. I\'m still hoping someone able and inventive will do a number here, since clearly much more is possible.
Thanks much, John, that\'s very useful, and confirms many of my guesses based on what I could read from the demos I\'ve heard. (You haven\'t sent me emails, & my @ isn\'t listed here FYI)
You know the transitions on the Truan Steinway might be somewhat fixable if it\'s programmed like the Yamaha. You might be able to split the top velocity dimension and give it just a tad slower envelope on the filter on amp envelope, so it goes for a soft hammer strike before it goes for the full \'tink\' hammer. Also might be able to fix the pp things maybe with some filter or envelope mucking. This is all conjecture, I haven\'t tried these changes on any giga pianos yet, but have had good success with similar tricks on other sampled pianos.
If you\'re out of dimensions for velocity usage, my first candidate to free a dimension is to lose the note-off trigger stuff. At least on the Yamaha in my monitors, that makes the piano sound rather murky and undamped, not \'resonant\'... The light piano through a lexicon reverb is much more pleasing to me.
Speaking of the Yamaha, I\'m gonna apply some of these tricks this weekend and see if improvements can be wrought. There\'s sort of a hole in the midrange that sounds like it must be in the middle of the X mic pattern. I\'m a bit curious as to why this piano was mic\'d with a couple of 4033\'s. I own one and like it, it\'s certainly my favorite $350 mic, but wouldn\'t be my first choice if I were selling a piano sample.
I don\'t know if the Trachtman demos do his samples justice, but to my ear they don\'t sound luxurious and intimate like I\'d hope for from a great instrument with great mics in a great room.
Thanks again for the feedback, I\'m itching for that magical piano and suspect it will come from GS + one of the Truan samples & maybe some editing. I\'ve been leaning towards the Boesy, but your comments and especially mp3\'s make a great case for the Steinway. My favorite tune of yours the Prelude in F#Maj; everything about that one is great and it hits me where I live.