Originally Posted by: jasensmith

However, one thing I haven't figured out is what's the difference between the start offset in Legato mode and legato blur?  

Legato Blur basically turns up the "volume" of the transition, whereas the Start Offset actually cuts into the sample.

So, in the advanced tab of VIpro's advanced view (the little tab right by edit and stretch) you will have an option for "Start Offset Mode."  Try selecting "leg" in that menu, and then fiddle with the "Start Offset" ms and the "Start Offset Attack" ms.

The "Start" fader located by the "attack" fader can then be used to control how much of that "Start Offset" effects the legato transition between notes.  

With the right settings, and each instrument/passage is different, you can remove that "harsh" or unmusical transition from note to note.

A number of users make multiple legato patches out of the stock legato articulation for each instrument... and each one may have a different Start Offset Mode to be triggered from repetations, the first note only, or even all.

Also by having multiple edited legato patches, different tuning/humanize settings will also help the performance "glide" from note to note in a much more convincing way.

I would begin your experiments with a string portamento, as it is the most obvious to hear when messing with the Start Offset.

Lastly, if you have an adagio passage of whole notes, save yourself the time and energy and do NOT use the legato articulations.... use the sustains and mess with attack/release.

If you watched the Smart Spheres DEMO I did, here are the EQ changes I made to different parts of the keyboard on the 274-D Synchron Piano (see attachment).  This preset is probably a good starting point as well for a "concert" setting for that piano.

For those interested in hearing a new Synchron D-274 demo, see here:

https://www.vsl.co.at/en/Synchron_Package/Concert_D#!Demos

It is a ridiculously difficult arrangement by Pletnev of the March from the Nutcracker ballet performed and mixed by me.  I love this piano!  Notice how in a certain velocity range during the trumpet theme how that final note this piano has sort of a forte-piano (fp) sound on that e minor chord, because I'm landing in a certain velocity range... that's a tonal/dynamic characteristic not found in other libraries (or on most real pianos to be honest... you won't find it on these banged-out/stretched-out C7s in the LA/Nashville studios.. lol).

...and if you're not familiar with Pletnev, check his performances out on Youtube.  He's a legend!

Also, this passage could be difficult for an ensemble to pull off.

Have you considered different inversions of the chord so you can make use of some open strings?  in G minor, you get two!

One other solution, since the passage appears to be an arpeggio...

Check out some of the paterns in the MIDI Sequencer of VI pro.  Often, there are switches between articulations that give it a more realistic feel.

AND pay attention to the ends of the notes plus the space in between each note.  You can sometimes fiddle with the 'release' slider.

Finally, you can affect the color of the sound (depending on what is really going on with the rest of the music) with the 'filter' slider.

Originally Posted by: William

Steven, yes actually I realized I had heard something of yours after writing that. Excellent work though I'm sure you don't care what I think.  

Just having a little fun, and never missing an opportunity for a little shameless self promotion  But thank you very much! 

Originally Posted by: William

Somehow I never hear any music by them.

Allow me to flex. 

https://www.youtube.com/watch?v=5VdWcNWQQlI

https://www.youtube.com/watch?v=jz2Q3kNsIIk

https://www.youtube.com/watch?v=tBn5yVYG96k

https://www.youtube.com/watch?v=QisezFa_oUU

If the suggestions in this were implemented, I would say they would have the following direct musical benefits:

• Better "out of the box" sound requiring less EQ to fix the noise.
• Better playability requiring fewer adjustments to the MIDI after a performance.
• For film scoring, piano parts tend to air on the soft side (the opposite of the current curve)... could be more inspirational for composers!

Granted, this is what *I* would do.  If none of these are implemented, then I certainly have workarounds and handy "save presets" options once I get it dialed in how I like it.   I have a feeling though VSL will introduce a curve... they're really good about listening to their customers when they have reasonable requests.

Originally Posted by: C.B.

I have the same issue (annoying key noise on some release notes).The noise is more audible when playing softly (final chord of a soft piece, for example). It reminds me the noise of a silent piano.

The Steinway is beautiful but I agree that hammers are too hard (at least, compared to then my own 205 cm grand piano). It is not easy to produce a «muffled» sound with that software intrument.

Best,

C.

Here is my solution thus far that may be acceptable in crafting a better sound...

Turn up Dynamic to around 120 (maybe more?) and turn down MIDI Sensitivity to around -20.

Also, go to the edit page and take the upper half of the keyboard and put an EQ shelf below 200hz... (or get the bell curves so you can keep a little bit of the piano "body" below 70hz) that helps reduce all that noise, yet on the lower half of the keyboad you can preserve the low end.

Originally Posted by: stephen limbaugh

I would like to 2nd this observation... and think to a small extent, the CFX could use a tweak fixing the bias towards the fortissimo and fortississimo as well.  It is a timbral issue, agreed.

For the harshest of tone, only the very top velocities should be reserved for it.  (Sort of like "harsh" shorts on the Synchron strings)  For the almost-top velocities, I feel there should be a gradual timbral curve.  But as of now, if I'm in the upper 1/3, it's all pretty "loud" timbrally.

One other thing.... I sent a file over to VSL about the keynoise on the Steinway, which to my ears is really loud, causing a whole lot of noise/mud in the 75-184hz range.  If this is adjustable in the sample, then perhaps that would alleviate some of the preceived timbral "bias" towards FFF.  Maybe? 

Originally Posted by: karvala

it's the timbral mapping that's heavily skewed in favour of fff.

I would like to 2nd this observation... and think to a small extent, the CFX could use a tweak fixing the bias towards the fortissimo and fortississimo as well.  It is a timbral issue, agreed.

For the harshest of tone, only the very top velocities should be reserved for it.  (Sort of like "harsh" shorts on the Synchron strings)  For the almost-top velocities, I feel there should be a gradual timbral curve.  But as of now, if I'm in the upper 1/3, it's all pretty "loud" timbrally.

Same here!

Originally Posted by: herb

You can perform the alternations at any tempo, it's just about the gaps between the notes, in a slower tempo the gaps may become to large therefor the player triggers starting notes (where two alternating variations are available). Just take care about the gaps between the notes, minimize them if necessary, and you will trigger the "performance repetitions" (8 variations).

best
Herb

Hi Herb!

I think it would be VERY helpful if in the manual there was some coverage of how to get Synchron how to "behave" based on the MIDI notes themselves.  I remember a past thread where I had asked if legato behavior was affected by touching vs overlap vs long overlap notes.  Or maybe a video tutorial?

Originally Posted by: Bill

I'm surprised this is such a low priority....

Dietz must be prioritizing his paying gigs. ;)

But for what it is worth, I also am very excited to have a MIRx for Synchron.

This is all extremely helpful -- thanks guys

So, the way I've got mine set up is in the VIpro matrix, I have a bunch of articulations.  

I navigate that matrix through keyswitches that are on the lower end of the keyboard (my primary keyoard is a 64-key).  The X axis is white notes, the Y axis is black notes.  I load one instrument, on one channel, and in the performance, I switch articulations through those key switches.  Of course, the keyswitches are outside the range of the instrument.

Then, I have velocity crossfade on, so that no matter what the velocity is, the "loudness" of that articulation is determined by the velocity Xfade CC position (low = soft, high = loud).

Does that kinda make sense?

It's possible but I'd really really recommend getting some cheap MIDI faders.

But aside from that, you should set up your VIpro articulations with keyswitches.

Waves has a plugin that recreates a "mix room" for your headphones.  Anyone try it?

Nx Virtual Mix Room is a virtual monitoring plugin that delivers, on headphones, the same three-dimensional depth and panoramic stereo image you would be hearing from speakers in an acoustically treated room.

I'm not allowed to release the final mixes yet as the film isn't out, but the Synchron CFX is all over a score I just finished.  (See attachement)

One of the best parts about having a piano mic'd this way is I can treat each mic position with different effects.  (LFOs, filters, saturation, etc... no delay!  Just messing with the runtime on each mic) This is more of an EDM track, but you'll hear a very unique sound as a result of this technique which sits perfectly between "organic" and "electronic."

Enjoy!

Plus, I know people have wanted demos of how this piano sits in a non-classical environment.  My view is that it is the best piano in the world for all genres... and that probably won't change until they release the Synchron Steinway ;)

Paul,

I'm waiting on final confirmation for stems on a project which used an older version of the SY Player, so I have not upgraded recently.

Regarding the "filtered sound" on some mic positions, is this a fix in reference to the other thread about voices dropping out on short notes?

Thanks!

-S

Originally Posted by: rikker

Hi,

Please weigh in. I'm in Logic 10.4.1 trying to automate VEP Pro 6 using Parameters. Once I've set things up and draw in my automation and play it back, I get a stuttered or jittered sounding playback. I've tried many things but still the same result.

Thank you

I had this problem too.

The solution:  Preferences --> Audio --> General --> Sample Accurate Automation OFF

Originally Posted by: agitato

One interesting thing about the orchestration of the final movement (starting 00:40 in your clip). While studying this many years ago I noticed how Tchaikovsky, the genius he was in part writing, split the main melody into multiple divided strings. I.e., the melody is not played by any one string group, but 'shared' across divided first and second violins. In a live rendition this would create a nice spatial effect. I wonder if you tried to emphasize that.

Yes!  The interlocking phrasing.

So, there is an argument that can be made for how the orchestra is actually set up, where you have 1sts at 9 o'clock, violas at 11 o'clock, cellos at 1 o'clock, and 2nds at 3 o'clock.  You'd hear sort of a "stereo" emphasis if you were sitting in the center.

In this performance I used the typical set up and my only aim was to try and get it to sound real -- most time was dedicated to the tone of the strings, automating vibrato, and the transitions from note to note.