Ah sorry.  That was the main thing that helped me but sounds like you have that sorted.  

Hmm since nobody else replied, have you tried instead using a dynamic EQ on that frequency range?  A few dB seems to take the edge off and of course you don't lose as much presence.  Not a perfect solution but effective for sure.

An "offline" HQ resonance feature would be a dream come true.  There'd be a new round of complaining about optimisation but if the sound justifies the inconvenience you won't hear a peep out of me.

You might be after the delay control.  The samples are well aligned but playing everything stacked does have a certain kind of punchy/resonant character.  If you move mics apart it not only creates space but reveals aspects of the tone.  The downside of messing with delay - potential phase issues, which will manifest differently across the range of the instrument.  But if you do it carefully (you can solo mics which are close together) it seems an essential part of the process.

Also did you try Smooth Attack?  No idea what it does but it seems kind of magical around 10-20%

I think I enjoy it on the 280VC.  I don't know if it's because the close mics are different, or maybe just the more clinical feel of the actual instrument.  But anyway the way it rounds off the tone seems pleasant.  Nothing to write home about but I think it will come in handy.

Does it help to drop the Dynamic knob a bit?

Of course it limits the expression but for something gentle it seems closer to what you'd hear recorded.

First is the fader level; then the width (Pan is above the fader - negative would mean reversing it so it turns red); then only on the condenser cut 6khz in the EQ at the top and add a reverb send at -6 (it's for the reverb on the far right so make sure it's enabled)

The High mics seem to add a lot of life mixed at a lower level, but I think you're right that Surround is the essential one (I'm always a sucker for DPAs).  Alternatively if you kept Highs you could ditch the RoomMix and not lose any flexibility.  Maybe that wouldn't save enough but it seems like the safest option.

Bit of an aside, but still performance related.  

Some larger preload options would be very welcome.  64gb-128gb ram configurations are very accessible these days.  I imagine most of us are happy to focus system resources on improving the live playing experience,  If ram helps at all, let's use as much as possible.

I had this with my old computer, but as you say only with a ton of notes.  Now I can confirm a better setup doesn't have any issues.  I think basically this is what the Room Mix channel is designed for, and if you don't like that channel (I don't) then it's either time for more CPU or more latency.

The other thing that might work is killing a couple of channels that you don't favour and making up the overall balance with whatever similar channels are still active.  

Probably a matter of taste, but I find the implementation on the D-274 really helpful.  Some of the real instruments are still very expressive and powerful on a single string.  Horowitz by the way advocated for its use to help colour louder sections, and this explains his hallmark crashing fortissimo when he finally lets it off.

I definitely don't oppose the possibility of even greater realism.  Just wanted to say I use it a lot and appreciate the general way it is balanced.  (I'm worried if it simply gets muffled I'll hardly use it any more)

Originally Posted by: Snoopy10

From f3 downwards a key always sounds double. Once when pressed and then when released.

Yeah the release samples are inconsistent in the bass.  Those ones are too loud, but most are perfect and some are too soft.  There are a few areas that will stick out occasionally with an unexpected dry release, for example G#1-A1.

I'm guessing they'll get it sorted soon since the older Synchron pianos have always excelled here, unlike most of the pianos on the market.  Those D-274 releases were absolute perfection.

As great as they are, 3/6 being Bosendorfers would be a little much.  

Bechstein seems underrepresented in piano library world.

Heh what a nightmare.  If it was me I'd just ask him for a screenshot of the mix and punch it in manually.

I'm surprised how little I miss the resonance.  It wasn't long ago everyone was wondering why virtual pianos felt nothing like pianos, and sympathetic resonance became a high-demand feature.

Yet here we are in 2020 with the best instruments not even bothering to use it.

Of course it'll be very welcome if it does reach VSL's standards and show up one day.

Definitely!  But they should just do that piano again with the synchron stage mic positions.  The 290s have a very special sound.

Do you both have the same player and instrument version?  Seems unlikely the presets would break, but probably worth checking if no other ideas.