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New Steinway D-
Signature Grand by Simple Sam Samples
$79.95 >> $49.95

"Signature Grand is a Model D 9-foot Concert Grand recorded in a beautiful hall/scoring stage. The instrument naturally excels in film and classical applications, but the user is able to craft the sound to be suitable to nearly any style of playing.

What makes our piano different? Our instrument is bursting with three-dimensional realism due to a unique sampling and scripting process that captures the beautiful early reflections of the recording space. By blending two microphone perspectives, the user is able to find the perfect balance between close and room microphones, as well as controlling the overall ambiance of the space through our "releases" controls.

Signature Grand is a deeply sampled instrument containing over 3000 samples in 24-bit, 10 dynamic levels per note, two microphone perspectives, and multi-velocity mechanical noises. Advanced features include repedaling, half-pedaling and various sympathetic resonances. Over 60 presets designed by Emmy Award-winning composer, Garth Neustadter are included covering film, classical, jazz, and pop styles. Designed for the full version of Kontakt 5 or 6 (Download Only). The instrument will not work with the free version of Kontakt."

" More than 2500 samples in 24 Bit
All 88 keys individually sampled in 10 dynamic levels
Two microphone perspectives (Close and Room)
Multi-velocity adjustable mechanical noises
Authentically modeled una corda (soft pedal) samples
Sympathetic String Resonance with real overtones
True repedaling and half-pedaling
User controllable microphone/recording noise and player noises
Adjustable releases to control early reflections and ambiance
Over 60 presets designed by Emmy Award-winning composer, Garth Neustadter

Recommended Hardware

2.0 GHz Intel Core Duo CPU
4 GB RAM
10 GB free hard drive space
Hard drive speed of at least 7200 RPM; SSD highly recommended
minimum audio buffer size of 196 or higher recommended

Kontakt Requirements

Kontakt Version 5.6 + or 6. The free version of Kontakt is not supported, but will run in 30-minute demo mode.
Ability to host 350 voices within Kontakt"

https://simplesamsamples.com/virtual-instruments/pianos/signature-grand.html

Source of news- https://vi-control.net/community/threads/simple-sam-steinway.93956/

Thank you, looks interesting.
So does it have pedal down samples or not? It talks about resonance and stuff, but from what I can tell, it seems like it's basically a script like in Ivory.

IMHO:
The sound is not bad, but nothing special.
With such size it has to be scripted heavily (it requires full KONTAKT) but this is not necessarily bad.
Adjustable recording noise and presets reveal its purpose, but it can still be very playable.
The price is right.
But why the heck another Steinway? I know 14 already!

Player Noise
Adds various “player” performance noises including breathing and subtle
movement. “Regularity” adjusts how often such noises occur.

Glenn Mode
In the spirit of certain legendary pianists, adds an imperfect vocal
“double” to melodic material above middle C.

I must confess these days I have my doubts if a piano library has less than 20 velocity layers or so, I know it's not all about velocity layers, but 10 seems on the low side for a new library in 2020.

Yeah, especially after Walker 1955 and VSL's Steinway having more than 30 layers (VSL I've heard it's like 70 or whatever)... 10 is on the lower side...

For so many years the polyphony number was a big deal ... even when it really wasn't.
So now we need another "size matters" discussion?

I think 10 layers is plenty. Small timbre changes just aren't that conspicuous. Adding more layers just adds a lot of bulk to the samples and offers little benefit.

Ten or fifteen years ago the limited number of layers was a limitation. But that limitation has been surpassed. More is not better.

There are now SO many things more important than layers. Among them:
- The quality of the sampled piano.
- The placement of the microphones.
- The action of the pedals, especially the damper.
- The resonances.

Well, I agree there are many more aspects that are important as well, but I think velocity layers are important too, and if executed well, personally I do believe more is better. This must be one of the reasons, if not "the" reason everybody says vsl's libaries are the most playable sampled libraries out there with it's numerous velocity layers.

It has a Glenn mode!

With all libraries I tried I find that the higher count of sustain velocity layers provides better outcome.
Less velocieis for initial attack, staccato, etc. can be compensated relatively easily, but scripting an even and pleasant sustain with less velocities is much harder IMO. May be, these folks need to hire Modartt to write scripts for them?

Yep, they need to add a flu mode as well!
And snoring audience!

Good point!

When silly or useless features are added, don't you wonder whether they're drawing attention away from flaws?

And even if not ... who needs audience noises in a VST?

But wait! Just for fun ...
For those of you with graphics skills, why not invent score notation symbols for audience noises?
Such as icons for ...
- Applause
- Snoring
- Coughing
- Sneezing
- Piano lid slamming down

I think this Glenn mode is just a gimmick. I wouldn't be using that in my piano recordings!!!

.
How about this for notation?

Ahhh good memories...the fantasie impromptu / Chopin.

Such kind of notation would be surely useful for the John Cage’s 4’33’’...

Indeed. Those icons notations would constitute the entire score.

very nice sound. What's the tune at the beginning?

Just discovered and purchased this vst, today. Here's 2 quick demos I did with it.

This is the NYC close mic perspective, out of the box. Note: it's WET even though it's a "close" mic perspective:

https://soundcloud.com/johnlgrant/1018largonycfeatureclose

The same material, now with a drier perspective:

https://soundcloud.com/johnlgrant/bach-sams-steinway-bright-and-dry

My initial take is that this is a VST that works well--incredibly well--if WET is your thing. The high end, on an initial listen, is phenomenal. The bass I really haven't had time to consider.

I posted a few observations over at VI Control, and subsequent playing confirms them, I think. Unlike HZP my uber-expensive scoring piano, this thing is definitely PLAYABLE. It also has a few more velocity layers.

The Bach-Busoni that immediately follows the second demo is a recording of a REAL Hamburg STeinway. Interesting comparison. Great playing by Mr. Rhodes, too. Can't comment on the half-pedaling; no time to assess. But, 50 bucks? A steal, I think.