Seems like you've found a solution that works, but here are a few other options.

Stephen Limbaugh posted a preset in the Synchron Pianos User Patches sticky thread that I believe includes some per-note EQ to reduce the hammer noise on the Condenser mic. It should be at the end of the first page of that thread, Posted on Fri, Oct 11 2019 03:17.

I don't use the preset as a whole, but I usually copy his settings for the Condenser mic. There are a few notes that still have fairly pronounced hammer noise and could presumably use additional tweaking of the EQ, but I don't use Condenser enough to bother attempting improvements.

Similarly, taking the per-mic EQ from the Intimate preset can be useful (and otherwise applying Player settings).

Of course the easiest way to remove that harsh, metallic hammer noise is to get the Full version and use Ribbon and/or Tube instead of Condenser.

The Sychron Fazioli may be brand new, but I'm sure some of the skilled users on here have been tinkering quite a bit with the settings, and I for one am eager to try them out!

To combat the relatively low dynamic range in the bass, Paul's specifically suggested increasing using the per-note editor to increase the dynamic range and volume in the bass relative to mids/treble. It's beyond my skillset to do this smoothly myself--but if anyone out there is working on something like this, I'd be extremely grateful.

But any presets would be appreciated. Please post them to the User Presets sticky thread rather than this one.

Best,
Mike

Originally Posted by: MikeR1154

In addition to the bass being notably quieter, I've also noticed a few specific additional keys that are quieter. Possibly this is just at high velocities, but might be at the full velocity range:

D5, E5, and B5

Is anyone else having issues with these specific notes?

I'm attaching the same MIDI and MP3 files I sent to support, comparing the bass to the treble/upper mids and then testing out several notes at the high end of the velocity range.

I'm agnostic as to whether the dynamic range overall is compressed, but it definitely feels differently-calibrated than the other Synchron Pianos. As Paul points out, though, the dynamic range slider and touch curve can make this respond more like the other Synchrons overall. But the issues with the bass and select other notes are more serious.

Best,
Mike

I'm adding A5 and C6 to the list of notes that seem quieter (especially at the higher velocities) than other notes in that range. Maybe not quite as bad as the first 3 Iisted above, but still noticeable.

In general, I'm getting used to the Fazioli. The control is great, the clarity of the bass is great. As long as I'm playing relatively quietly and/or not specifically trying to bring out the bass (or one of the 5 notes listed above) the playability is excellent, I enjoy the sound.

But I still think there is something wrong with the volume/dynamic range of the lowest 2 octaves or so at the higher velocities. A heavier touch curve does help to balance the bass to a certain degree, but to me that just clarifies that there is an issue at higher velocities. The upper treble might have a similar issue, but I'm less sure about that.

Comparing to what we see in the earlier video from VSL demonstrating the acoustic piano, at  https://www.youtube.com/watch?v=RfOWORJwTas it does seem like the controlled/quieter (2 different things in my opinion, but both are true) bass is a real feature of the Fazilio that has been exaggerated somewhat in the Synchron version. And I'd say the same about the 4th pedal--the effect seems much more dramatic in the Synchron piano than what I can tell from the limited evidence of the video.

I appreciate that Paul and team seem to be taking these concerns seriously. I know it's difficult when we are reacting BOTH to the character of the piano and how the piano has been implemented. But at this point I do still think there are some genuine (fixable) issues here.

When it comes to the character of the piano, I do think there's also probably room for the VSL team to satisfy more of their customers out of the box with a wider variety of presets. (In general, for all of the Synchron pianos, I know I'm one of many who would like a greater choice of presets on the drier side--including some from the audience's perspective. Touch curve presets and--as the Fazioli shows--presets that alter the character and/or responsiveness of the piano--would be welcome as well, beyond the more extreme Effects presets available for Stage B.)

Best,
Mike

In addition to the bass being notably quieter, I've also noticed a few specific additional keys that are quieter. Possibly this is just at high velocities, but might be at the full velocity range:

D5, E5, and B5

Is anyone else having issues with these specific notes?

I'm attaching the same MIDI and MP3 files I sent to support, comparing the bass to the treble/upper mids and then testing out several notes at the high end of the velocity range.

I'm agnostic as to whether the dynamic range overall is compressed, but it definitely feels differently-calibrated than the other Synchron Pianos. As Paul points out, though, the dynamic range slider and touch curve can make this respond more like the other Synchrons overall. But the issues with the bass and select other notes are more serious.

Best,
Mike

Hi Paul,

Velocity curve left flat, though I did check to see if I was using the full velocity range, and I also tried out different curve settings on the controller side (Kawai NV10) to see if that would help me to get more out of the bass relative to the mid and treble.

Side note: after trying out various curves, over time I've found myself moving to a flat velocity curve for all the Synchron Pianos. I can't compare the touch curve to a real concert grand myself, but as far as I can tell you guys did a great job on the velocity mapping.

In fact, one of the things I enjoy about playing the VSL Synchron Pianos is that I can switch pianos and then I have to adjust my playing to the instrument, similarly to how I would with an acoustic instrument. It would be strange if the Fazioli were implemented differently enough from the others that it really NEEDS a velocity curve with my controller.

Best,
Mike

Hi Paul,

I'll see what I can do. I don't use a sequencer. Would a MIDI recording be helpful instead (to go along with the mp3)?

I'll give the dynamic slider a try and report back, but my understanding and past experience is this will increase the dynamic range for ALL notes, so I'd expect the upper-mids to still overpower the low range.

I really appreciate the responsiveness, but I should warn you -- like a lot of pianists I'm not particularly tech savvy. I'm a bit more persistent than some. but I don't really know how to mix or work with MIDI, and once it starts getting to EQ or per-note volume adjustments, I'm out (unless someone can provide me with a preset).

Best,
Mike

To add: I'm using Windows 10, and I was on Synchron Piano Player version v1.2.116 (updated this morning to 1.2.118 but haven't been able to test it out yet, but I did try reinstalling the Player yesterday, before .118 was released). Tried in both standalone version and hosted in Cantabile.

A few more details, which lead me to suspect that this might be a bug in some versions of the Synchron Piano Player:

1) The effect of the 4th pedal seems extreme. I wonder if somehow the effect has been fully or partially applied to some or all notes when the pedal is off, then gets doubled up when the 4th pedal is turned on/depressed.

2) In addition to the bass, the upper treble also seems a bit restricted in dynamic range.

3) Really, it's the mids/upper mids that seem to dominate. Possibly D4 in particular is louder than other notes?

4) On those bass notes in particular, it really does feel like I'm hitting some sort of limiter at around 3/4 of max velocity. Very little if any change in volume or tone at that point. (I checked and velocities are definitely registering correctly in the Synchron Piano Player.)

I'm just an amateur pianist, so I'm not able to dive into MIDI or apply EQ to any meaningful degree, and I don't want to start editing this piano note by note. But if anyone else on the VSL team can walk me through how to provide more info, I'll do my best to supply it.

This instrument has some great qualities, and I really want to love it, but right now I can't see myself using it for much of anything composed after 1800 or so.

Best,
Mike

Hi Paul,

Is this true for the Stage B pianos as well?

Thanks,
Michael

Hi Stephen,

I loved the binaural effect you achieved on one of your demos for the Imperial. Any chance you can share the settings you used and/or offer some general advice on how to achieve this?

Thanks,
Michael

Originally Posted by: Phil2

I'm certain they won't do una corda since they have to re-record the entire pianos and it would effectively double the size of the download. Frankly I don't even like it on my Baldwin 5'8" grand because when the dampers come down they make a little bit of a twang because not all the strings are vibrating equally. It was that way when it was new. But the sustain resonances would be very simple for them to do.

I've been doing the sustain resonances myself using the sampler Kontakt. If anyone else wants to know how, let me know. It's a bit of work.

I agree true una corda samples are unlikely--but a better una corda model should be doable--and as I think someone else on this forum mentioned could be adjustable (maybe even including felt or moderator options as as alternatives to una corda effect).

Nevertheless, I think una corda samples should be considered, at least for a limited set of pianos and/or mics. The Steinway perhaps has a large enough market to support una corda as a paid upgrade or even separate alternative instrument. The 280VC might be another good candidate, on the assumption Stage B makes scheduling a new recording session easier.

I just wanted to put in another vote for improved sympathetic resonance, silent key, and improved una corda (ideally samples, but a better algorithmic una corda, perhaps with adjustability, would also be great). I'd probably put una corda first on that list--and would even pay for an upgrade that included true una corda samples.

I've noticed what sounds like some pretty artificial-sounding buzzing in some samples in the mid-high range on the Synchron Bluethner piano. It's most noticeable on A3 and A#3, but present on several other notes around middle C. Present with all mics, but most noticeable in the close mics. Tested with multiple sets of headphones and my NV10's internal speakers. Someone else has mentioned this in a review (kindly pointed out on anther forum): https://pianoclack.com/f...bluthner-1895-experience

When I contacted VSL support, they suggested this was part of the character of the piano and could be EQ'd out. I'm no engineer (just an amateur pianist) and haven't had any luck with the EQ'ing (to get a meaningful reduction in the buzzing, I've had to EQ out quite a wide frequency range, and I lose the attack and character of the piano).

Has any one else experienced this? Can anyone offer any advice? I find it fairly distracting when playing what is otherwise a fantastic instrument.