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I see here a trend... Yesterday I installed the new VSL Synchron Pianos player and then all my purchased ones stopped working.

I’ve downloaded the other six that I don’t own and been playing with them for the past day.

The Steinway is still my favorite, because I think it’s the best overall in terms of having the most tone range: it’s got the brightness, sparkle, shimmer, & brass metallicism that Bosendorfer and Yamaha instruments have higher dynamic ranges, while also being able to produce very round, solid-fundamental, soft and muted tones like Bechsteins and Fazioli.

However, the Yamaha CFX is a very well done virtual instrumental also, and I think I may buy it once the demo period is over. It’s SUPER faithful to the Yamaha CFX sound and feels great playability. Didn’t even need to alter the velocity curve. The website says it has up to 4200 samples per key while the other big grands have 4000 samples per key, and I feel those extra 200 samples do show up a bit in resonances and key off, especially when half-pedaling. It’s subtle though, so not a huge difference, but I feel like I noticed it. May have been a placebo effect of just having read the stats though. It also does a good job with the faux una corda the way the Steinway does.

The Bosendorfer Imperial was also well done. Great with key-off samples and resonances as well, especially in half-pedaling and the subtleties. I simply am not a fan of the Bosendorfer sound, on their big grands. Otherwise, I’d like it too.

The 280 VC is probably my least favorite of the modern grands, because I’m not crazy for the Bosendorfer tone and because of the weaker, dry top notes. But if you like the Bosendorfer sound, you’ll like it. And it seems like it’d work better with more modern genres too.

The Bluthner is a great character instrument. I can’t see myself playing it as a main instrument, but if you want that particular sound (antique/refurbished/old piano) for a particular performance or in a mix you’re doing, it’s a great instrument.

The the two uprights are great character instruments also, or can be a main instrument if you’re partial to the upright sound. They distinctly sound “upright”, especially with the Mid 1 mic which is set behind the instrument and gets that sound from the exposed soundboard, which is what we usually hear the most. I preferred the Bluthner (German) upright to the Bosendorfer though, surprisingly. The Bosendorfer almost sound a bit honky-tone with some mics. The Blutherner also seems to have more samples for more playability.

Overall, some really well done instruments, and great different options.

Fingers crossed that the Fazioli recently acquired by VSL will be their next instrument available. (And, since you’re here Paul, please sample it with una corda this time . I know it’ll be double the work, but VSL fans will love it, as I’m sure you’re well aware that una corda is the one thing we want the most lol).

Hi guys,

No sound coming from Steinway Demo

Hoping someone has an answer here before I contact Vienna,

Laptop to piano.

280 (I own) installed on HD working fine.

No room for Steinway so loaded the demo on a external HD

Everything is installed, Ilok key working.

280 sound, Demo no sound. (it also does not seem to be loading the presets, but not sure.)

Any ideas ?

Seems we have similar thoughts! Which is encouraging given the difference in skill level =P

I go back and forth on whether I prefer the Steinway or the CFX. TBH I'd say I like just about everything more about the CFX except the Steinway, despite being harder out of the box, can still get softer at the absolute lowest velocities. It feels like from ppp to mp every few velocities brings a noticeable tonal change. The CFX *almost* gets as soft -- closer than any of the other instruments -- but not quite. On the other hand it is indeed much more playable out of the box, probably because of the built in Disklavier system. I also think the more prominent releases feels more like the grands I've played, albeit never anything tuned for a concert level.

I do personally enjoy the tone of the imperial, but for some reason it feels like from velocity 1-30 ish there's almost no dynamic variation with the pedal down and it keeps a hard tone. With the pedal up it is able to get quite a softer tone.

Anyway, I second the una corda for the Fazioli. Recognizing that doing true una corda properly would nearly be like sampling the entire piano twice, VSL could release una corda as a separate add on and I think some people would still buy it.

I've also been demoing the entire Synchron series this week. Among the modern grands, the Steinway is really excellent in my opinion - very flexible and powerful, and it picks up anything I throw at it in terms of expression and nuance. I already had the Bosendorfer Imperial in the standard version and I think that is equally fantastic and probably remains my favorite overall soundwise (I personally love the Bosendorfer sound), but I could live with either one of these as my main instrument. However, I plan to purchase the Steinway at some point so I won't have to choose. 😋

I also really, really love the Bluthner. I'm a sucker for vintage instruments from this era, and this is one of the most beautiful I've heard. It also has the best response (for me) of any of the Synchron series out of the box, and is just so lovely and satisfying to play. I wouldn't want to have it as my only instrument, but I also can't imagine being without it at this point.

The 280VC feels very different than the Imperial - very bright and forward, but also a little flinty and hard. I don't think it's for me, but I could see some people being drawn to it as it has a very distinctive character.

I seem to be one of the very few who can't get into the CFX. I keep going back to it to see if I'm missing something, but I just can't connect with it for whatever reason. It has a very neutral overall sound, but lacks the sparkle and power of the Steinway, or the warmth and clarity of the Imperial, and ends up just sounding rather colorless and anonymous to me. But clearly I'm in the minority in this opinion.

The new Bechstein upright is very nice, but it's also very similar to another library I already have (NI Gentleman) which is also sampled from a Bechstein upright from 1908. The VSL is a little more deeply sampled and a touch more dynamic, but otherwise they are quite close.

I also love the Bosenforfer upright - it's very warm and intimate, and fun to play around on. I wouldn't see myself using it that much over the grands, but it's a great option if you are looking for an upright sound.

[quote=ronlefebvre]Hi guys,


If you try to select the location and it says something like “not a valid content path”, there’s a larger issue, and either you need to format your drive or reinstall the software. Move on to below:

REFORMAT DRIVE & REINSTALL SAMPLES

1. Are you using Windows or Mac. If you’re using Windows, make sure your drive is formatted NTFS. If you’re using MAC, make sure your drive is formatted APFS. If not, you need to format it to the appropriate formatting system, which will, of course, erase the drive, and require you to reinstall the samples. On windows, from the My Computer/This PC folder, right click the drive, click format, and select NTFS. If you have anything else on the drive, save it to your computer first. Before you format, uninstall the Steinway. Then deactivate the license.

2. After you format the drive, reinstall the Steinway. Reactivate the license.

3. Try it now.

Agreed. Once the Steinway is adjusted properly, it’s playability at lowest velocities is superior. I also agree that it definitely has those tonal changes at each level that make it very rewarding to really play “into the keys” and go for super low velocities. I love the brilliance and metallicism of the CFX, but I get more color out of the Steinway, and it manages to keep a round tone without getting the almost industrial fire of the CFX.

I definitely agree the Disklavier system played a role, as well as those extra 200 samples per key. I agree the release resonances feel much more pronounced in the CFX.

I really wish I could get into the Bosendorfer sound. I thought I would have loved it initially, since my teacher owned a Bosendorfer grand in her house, and I loved the sound of it. I find it so odd that now, in general, I don’t care for Bosendorfers. I wonder if she had it voiced a certain way. We were very close, but interestingly, never spoke much about her piano. Anyway, what you point out about the Bosendorfer is one of my issues with it in general: there isn’t much tonal “evolution” on Bosendorfer instruments. The tone pretty much stays exactly the same from ppp to fff; it’s just gets louder or softer. The linear nature of tone is one of the laurels Bosendorfer advertises, but I find it prefer more tonal variation. There are moments, though, where I love that crystalline ring.

I definitely agree that people would be willing to pay for una corda support. If they were able to release real una corda for the Steinway now, I’d buy it.


I really wish I enjoyed the Bosendorfer sound . Everyone generally seems to love it so much, but I just can’t click with it. I wish I could because, otherwise, it’s a really well done virtual instrument.

The Bluthner is a great instrument, too. Perfect vintage sound, and some really great sort of “sonic artifacts” in there, such as the vibrations of the rim, soundboard, and internal mechanisms on some notes that really contribute to that vintage feel.

I also definitely agree that the 280 VC is my least favorite of the big grands. “Flinty & hard” is the perfect description to me. And the lack of color or power in the top octave is just odd. I’m a bit shocked that Bosendorfer went with this as the sonic profile for their newest instrument which they’ve been pushing as a flagship along side the Imperial. Having heard an actual 280 VC, it is an inferior sound to the Imperial in my opinion and even to some of their smaller grands. Maybe there’s a more modern sound out there that I just haven’t hooked on to yet. There definitely seems to be a lot of people who like it.

Agreed about the uprights too. Not for me, but for those who love an upright sound or need an upright piano for their mix, the options are great.

The known issue is that with the iLok based VSL Synchron Piano, you can’t load eLicensor samples, then you have to download them once again.

The joys of being stupid...

I decided to demo the Steinway and CFX.

Course that will not fit on my HD.

Got an external HD that I just spent a whole weekend backing up all my stuff.
No worries. Delete everything and install.

Spend Saturday downloading the Steinway.
No sound.
Look, drive is not in NTSF.

Re-format. Re-download.
Lots of hiccups.
Maybe it's the Steinway. Let's demo the CFX.
Nope same thing.

Maybe I should check to box the HD came in.
That's right. NOT an SSD drive.

Maybe someone is trying to tell me something.

Maybe, but remember...Stupid.
Tomorrow off to the store to buy a SSD drive and try again...

Not even sure I will buy a new VST yet.

Hi everybody,

Just a quick heads-up that we're reading all your comments with great interest!

Enjoy!

Paul