đčVienna Symphonic Library: Bluthner Grand Piano VST Plugin Review & Demoï»żđč
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- Äas pĆidĂĄn 7. 07. 2024
- 0:00 - Introduction
1:24 - Opening Playing Demo
2:02 - VST/Video Overview
7:27 - VST Sound Review
13:21 - Steinway D Demo Comparison
14:40 - Bluthner Sound
21:56 - Closing Thoughts
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#VSL #Bosendorfer #Bluthner
Hi everybody and welcome to another piano video at the Merriam Pianos CZcams channel. Today, weâll be looking at Vienna Symphonic Libraryâs fully restored Bluthner 1895 grand piano VST.
This will be our last review of something from VSLâs catalogue, and one of our final VST reviews for the time being.
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Background
Itâs been a really fun journey over the last 8 or so months exploring all of these different VSTâs available in 2021. Weâve decided to save the VSL Bluthner 1895 grand piano for last.
This sample library gives us a chance to go back in time in a sense as the Bluthner 1895 is a fully restored, 135 year old instrument. Weâre not sure who did the actual rebuild, but itâs clear that the task was taken on by an Artisan level rebuilder.
The piano was recorded in VSLâs B studio, where they also recorded the Bosendorfer 130 and 280VC.
This Bluthner 1895 sounds to us like itâs about 7 feet in length, so not a full concert grand, but approaching semi-concert size. Weâre very excited to hear how this rebuilt piano sounds when recorded with todayâs cutting edge technology.
Piano Sound
Weâll start by doing some playing in âPlayerâ Mode. Bluthner has historically had the moniker of âGolden Soundâ attached to their name, and the main reason for this has to do with the treble on their grand pianos and their use of 4 strings instead of 3, known as Aliquot stringing.
The 4th string actually isnât struck by the hammer, but rather resonates sympathetically and adds an extra layer of depth to the sound, and thatâs coming through here.
The dynamic range of this piano is tighter than what weâve observed out of the other VSL concert grands weâve tried, but thereâs a wonderful delicacy to the sound. The 4th, 5th and 6th octaves of this piano is where the magic really happens.
Like all of VSLâs plugins, thereâs a wide variety of preset configurations to choose from. For example, in âConcertâ the sound is much more reverberant, whereas with âIntimateâ, the sound is much more subdued and âPopâ is much more compressed.
In some ways, the sound reminds us of a nice upright piano, and itâs undoubtedly very versatile. It would work great for an indie rock setting, as well as some 60âs 70âs pop-rock material.
Some of the settings really give you a clean, modern enough tone for some solo piano work, but itâs definitely not a one size fits all solution due to the size, as well as a lack of resonance and overall clarity.
But in some ways, itâs got the most flavor of any VSL sample set weâve tried, which is really saying something.
Thanks for watching!
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Nice đ Please, keep doing more of VST reviews !
Man I love you playing; just wonderful.
I think this Bluthner is one of the most authentic sounding virtual pianos you have played. I have the Pianoteq Bluthner and played it for a long time. I think I'll try combining it with the Yamaha DGX again. Previously I thought the combination was a bit too strong.
Nice, and superb playing....
great review!
Loving the Bluthner
Great vid, the VSL BlĂŒthner really has a wonderful sound.
Thanks! Absolutely! It is a gorgeous sounding VST plugin. :)
The Yamaha Clavinova CLP-700 series feature 4 historical pianos (fortepiano voices) in addition to the newly sampled CFX and Bösendorfer. Hearing the sounds of the instruments played when the likes of Mozart, Beethoven, and Chopin were composing their songs should illuminate the original intent behind the notes on the page. Here is a novel opportunity to communicate with historical composers by playing these period instruments.
Amazing playing as always. I'm a big fan of the sound of the Bluthner and their upright. Sometimes I think VSTs try to get recordings of their modern concert grand or grand pianos too clean so the vintage and upright ones in the collection with the present and forward harmonics and character come off just sounding closer to sitting in front of a real piano to me versus a computer. My favorite piano library to play is Imperfect Samples Fazioli. So much character.
For some reason, I find this library to sound kind of far away from the player's position, no matter which demo I choose from the official site or videos on CZcams that feature this piano. Yes, it does sound rich, clear and beautiful. But not exactly as if I were sitting in front of a real piano, but somehow further away from it. One reason could be the room reverb, which seems to be pronounced. Reverb can be used artificially to alter our perception of distance from the sound source, making it sound as more distant. If you record a sound dry with a close microphone and then artificially add reverb, it is perceived as if it was recorded further away. The BlĂŒthner that Stu is playing here sounds a lot closer than Fazioli by Imperfect Samples. I would not use that library for a live sound since it is kind of weird to play an instrument that sounds several feet away from you. I remember a number of years ago I sat in front of Roland HP piano and it sounded like a distant recording... it was just weird to be sitting in front of a digital piano and hearing the piano sound not in your face.
@@Instrumental-Covers Oh yeah, I think I know what the issue is and it may well be the demo version. On the full version it gives you multiple mic positions close and far that you can raise and lower each one and blend them together or just have one up. This for me was essential in getting several different sounds from a close sound to an audience prospective, room mic recording etc. It's a dark and moody piano even dry but the close mic for the sound you're wanting I would turn up, then turn the other mics down and add my own reverb. Not sure if maybe the didn't include that feature in the demo. That said for me, it's not a live take on a gig kind of piano library, it's dark and moody but always makes me feel like I'm playing something wooden, that resonates, and it feels alive and not too sterile. But adjusting the mic positions to taste is essential but it is so naturally moody and dark
@@SessionsWithMike You say this piano is naturally moody and dark... but Fazioli pianos are typically considered bright and clear, which would be the opposite. I would say they are voiced more in the style of Yamaha pianos. My understanding is that Paolo Fazioli requires an emphasis in the purity of tone, which is an aspect of the Yamaha piano as well. I have heard people requesting to voice their Fazioli pianos more mellower than the standard showroom Fazioli. Maybe this one was custom-voiced to be dark.
Regarding the microphone positions: I wonder if the sound engineers succeeded in creating a really close sound. I say that because I have the full version of Garritan CFX, and it doesn't sound close enough even after turning off the other microphones and leaving only the close mic on. If just doesn't sound as close as the CFX built-in on my digital piano.
The purpose of vst instruments seems to be mainly for studio recordings rather than live playing. If you use a vst piano for a gig, then you need to use a laptop, an audio interface, a midi controller... it is not as friendly and portable as a digital piano, which has been already designed to be used live. So, my guess is that this Fazioli may have been designed with an emphasis for recording purposes, in which case a super close sound is not a priority. I think the purpose of a digital piano is to produce a sound that seems to really emanate from the speakers, and that requires a very close clean sample, at the expense of some room reverb or perspective. The purpose of a vst piano is to give you a piano sound perspective, even if the microphones are close. That is kind of my general impression.
@@Instrumental-Covers I completely agree and great breakdown on Faziolis natural tone! You know when I left that comment I didn't consider that some people may be looking for a Fazioli in it's purest tone for certain styles or live playing so that was great to point out. That said when we talk about the recorded piano, one of the hardest but most rewarding instruments to record where the recording has such an impact, that subjectivity widens even more especially with how a person intends to use it. I use it simply as a my favourite to sit down, studio monitors turned up, and enjoy playing and hearing the sound of name aside. That's the beauty of recordings and having specialty libraries with imperfections meant to just evoke emotion and feeling in a way even beyond just being able to voice a piano differently. Kontakt is a library of recorded piano samples and just as much as really physically voicing a piano, so much of an instruments tone can be decided in how it's recorded, from microphone selection tube, fet, etc, mic placements, mic pattern, room type, mic distance, lid up or down, preamp, console, etc. All these are decisions the engineer makes that can subtly or dramatically change a voice or instruments sound. Even more so which velocities each sample or key strike is recorded at, which of those velocity recordings are included and with kontakt mapping which velocity curve triggers each sample. Then from there, a persons midi controller can actually trigger the lower velocities and playing style decides also how those lower and higher velocities are played back. There is no doubt in my mind when they recorded this they purposely were looking to get a darker, warm, moody sound out of the Fazioli typically achieved by softer playing but even in higher velocities and they really play that up. But that's what I love about it. It is Imperfect, it's alive, it moves, it's moody, it sounds like it's resonating inside wood, it is Imperfect and I love that, but when you dig in velocity wise you can get something else among the mentioned mic positions. I think in the digital and vst world of clinical and the cleanest samples, that's what I love the most of their Fazioli recordings. I get for some styles and a general use it can not be peoples favourite. But it for sure is mine to just sit and play! Cheers and great discussion!
thanks gotta check that one out
Amazing
Just love the sweet sound, so gorgeous, the older piano are so delicious to listen to , my piano is an older grand, C Bechstien Model A.
Thanks đ
True magic is that you play all of these different piano sounds with single midi keyboard.
You are right about the Bluthner being perfect for French piano music; it is so "airy." The short example sounded beautiful.
Thanks for this -- I'm one of those people who thought the Bluthner is his favorite of the VSLs. I also find that it has the best out-of-the-box response for me, although that's of course contingent on your controller (Casio PX-560 in my case). It may be in part because of the relatively limited dynamic range and lack of timbre change; the Bluthner's sound is far more consistent from pp to ff than the Steinway, for instance.
One tip for getting it sound just a little more like a modern grand is to very gradually increase the volume of the bottom two or three octaves using VSLs per-note editor. That at least helps give you the big bass more like the 9 ft grands. EQ can further help, but I find that gives me a compromise I am happy to work with.
This library just has so much character and I always find it really inspiring to play.
Napilopez I have been tempted to try out a vsl for some time but have no idea how to work it through my keyboard. However I notice you have the same make and model as me which I have only been using for about 6 months. Would you be kind enough to give me some instructions on how to link up and use this or other vsl's. Thanks Phil.
@@phil24wood You just plug a MIDI cable from your keyboard MIDI out into your computer's USB port. As far as I know you then have to have a separate audio system for the computer's voice. I tried piping it back into my Yamaha's DGX audio input, but the end result wasn't good.
@@JoeLinux2000 Thank you Napilopez. I am now going to try it out.
The quality of the samples of this Bluthner are spectacular. Of course the playing in this demo, is accomplished as always. For those with enough money, it would be wonderful to devote about $3,000 to purchasing the key pianos from VSL, Garritan, ViLabs, Production Voices, and a few others. The character of the reconditioned piano is so well captured. It really demonstrates how far the piano tone has come, and how we have evolved away from that classic sound and have so much more sustain and bass and resonance, in the more modern pianos.
I would have hoped that Merriam Music would demonstrate some of the better sampled pianos from Production Voices, if for only one reason - Merriam Music and Production Voices are both Canadian businesses, and it would be so befitting to hear an all Canadian demo - sample library and pianist.
I must admit though, this would not be my favorite piano, if I had the budget for only one. The inharmonicity between the treble and bass notes, is a bit too obvious, making it sound like the piano is out of tune slightly. I would hope there would be an option to move from just-intone to equal temperament tuning. Lovely piano sound, just not what many of us are familiar with this vintage sound.
The harmonics, the overtones, the action and feel of then vs. now must have produced a very different expectation for the results. The composers chose their chords etc in anticipation of the instruments ability to produce the desired sound. I suspect that not only the instruments were qualitatively different but today's classically trained musicians are undoubtedly the best instrumentalists (as a group) western music has ever been privileged to hear.
That is a very good point! It certainly is an an input versus output situation. Composers/players will react differently to different instruments of course. Thanks so much for tuning in and sharing your insights! :)
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Is it possible to get the VST piano sound out from the Kawai speakers, or is it only possible to get the sound out from the computer speakers?
Would be great if I could play on the Novus 5 and hear the Bluethner piano sound coming out from the Novus 5.
Is this possible?
Time to review the VSL Bechstein đ
Hi Stu. Have you ever looked at the BlĂŒthner Model One in Pianoteq? This is my favorite model from Pianoteq. But the piano is 2.80m long, so it's in a different class. Still, the BlĂŒthner sound, especially in treble, is certainly special in both models. I love my BlĂŒthner Model One. đ
He did a review of Pianoteq 7 but only focused only on the NY Steinway Model D. But I'm with you on the BlĂŒthner being amazing, and it is one of my favorites (the other being the 1889 C. Bechstein and the freebie Pleyel).
On their site they say that the restoration work was done by by master piano builder Bernhard Balas from Vienna.
Stu, I have just discovered the VST reviews of yours. The real trick for me in making comparisons for historic sound would be the reproduction elements ie: speakers and amp as well as the software. My wonderment is what are the best speakers within reason of cost impart as little of their own sound... I know almost impossible but paper materials vs weightless diaphrams etc give a colored sound. What has been your experience? Maybe this is all moot because of each listener and their tastes but the thought must be entertained when listening and playing. As usual your thoughts and impressions are englighteing. I will keep watching. Thank you......Jim
For some reason Production Voices pianos, Production Grand and Concert Grand, have been left out of all piano VST best lists and comparisons that I have watched on CZcams and I think that your VST series would be incomplete without those two.
After this big interesting period with the VST, itâs time to get back in front of pianosâŠ..đ maybe the new numa x piano gt ??? Just an ideaâŠ..đ
Adore classical music, not playing myself. But I just love Stu play and explain. Really good company, keep it going :)
This is an actual review
Hi Stu. It feels surprisingly appropriate to have a "romantic" end to this series.
The recipe seems to be nicely refined, slightly better camera angle, snuggly fitted b-roll pieces. Image composition achievement acquired :)
Do you have a fluffy toy (a Minion?) sitting on the camera maybe?
Sometimes it helps with the eye contact, makes it more intimate, or maybe you just get used to us represented as a cold lens?
czcams.com/video/bZPLVDwEr7Y/video.html
Have fun playing with this medium and let us have fun listening, goof around sounds, make my Sunday bright.
Stu PLEASE review if you can the Bechstein Digital VST. I absolutely adore Bechstein pianos, is all I'd play in my life but I cannot afford the physical Bechsteins.
I am curious to know your opinion comparing the Bechstein VSL with the real ones since you have have extensive experience with them and from what I gather from you previous videos you are a fan of Bechstein as well.
Hopefully you will review the Bechstein VST one day. Thank you so much, I follow your videos from years and you are the best there is on CZcams when it comes to the piano market world.
That would be nice to hear him do. It's supposedly great, the only negative thing I consistently hear is the Bechstein Digital can be pretty CPU taxing on a computer.
Modern U !!!!!!
Ravenscroft vs Bluthner vs CFX vs Stainway? Which one would you choose to better fool a pianist he/she is playing an acoustic in a blindfold test with headphones?
Hi! Brent from Merriam Music here! That really comes down to the subjectivity of the player. Every pianist will gravitate towards a different sound at the end of the day. :)
What keyboard is being played here as the controller? Looks like Roland RD?
Hi! Brent from Merriam Music here! I believe Stu is using a Roland RD2000 in this video. :)
And don't forget that Sergei Rachmaninov stated how much he loved his BlĂŒthner above all other pianos.
Absolutely! Bluthner has a longstanding history of quality and appreciation from top pianists and composers.
I just stumbled across these wonderful quotes:
"There are only two important things which I took with me on my way to America. It's been my wife Nataja and my precious BlĂŒthner."
Sergei Rachmaninoff
"The tone he extracted from the BlĂŒthner was the loveliest, the most elusive and ethereal I have ever heard."
M. Dumesnil on Debussy's playing
"This BlĂŒthner had the most beautiful singing tone I have ever found. The piano inspired me. I don't think I ever played better in my life."
Arthur Rubinstein
First
can you do a demo without talking just playin for 20 min thx
This video looses a lot of athmosphere because of the camera angle. How can youn not show that whole beauty? Also I found here a bit of emotion lacking as if you had no pleasure at all doing this video. Too bad. Didnt gave me a good impression at all.