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Boesendorfer Imperial
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Boesendorfer Imperial

3.7 of 5
 (3)
€ 92,-
$ 95.00
£ 80.00
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€ 92,-$ 95.00£ 80.00
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*VSL Upgrade Politik – auch bei uns zahlen Sie nur ihren persönlichen Upgrade-Preis!
Für die meisten VSL Bundles, Collections und Single Instruments können registrierte VSL Nutzer, basierend auf ihren Registrierungen im VSL- Kundenkonto, persönliche Upgrade/Complimentary Rabatte erhalten. In unserem Warenkorb erscheint eine entsprechende Abfrage ihres VSL Accounts und ermittelt daraufhin ihren entsprechend rabattierten Preis.
Wichtig: Um eine bisherige „Extended Library“ zu erwerben, müssen Sie die „Full-Library“ in den Warenkorb legen. Über den User-Rabatt „Prüfen“-Button wird dann ihre vorhandene „Standard-Library“ in Abzug gebracht.
Die Lieferung von persönlichen Upgrades bzw. rabattierten Lizenzen erfolgt aus technischen Gründen spätestens am folgendenden Arbeitstag.

Die großen Vienna Instruments Collections sind die leistungsfähigsten orchestralen virtuellen Instrumente, die je entwickelt wurden. Die Collections, in die Kategorien Strings, Winds, Percussion & Keyboards und Voices eingeteilt, bieten die vollständigen Spielweisen aller Instrumente, mit denen Sie die hochwertigsten und authentischsten Ergebnisse erzielen. Bitte beachten Sie auch unsere vergünstigten VSL Instruments Bundles.

Basierend auf den Standard Libraries bieten die FULL Libraries zusätzliche Instrumente und Spielweisen.

Boesendorfer Imperial Header

Ein virtuelles Klavier für den kleinen Geldbeutel

Mit Unterstützung der traditionsreichen und renommierten Wiener Pianomanufaktur Bösendorfer haben wir unseren ersten gesampelten Konzertflügel entwickelt, der in dieser Collection als Software-Instrument zur Verfügung steht. Das Instrument – ein Bösendorfer 290 Imperial  – wurde für die Aufnahmen von den besten und erfahrensten Klaviertechnikern bis ins letzte Detail akustisch abgestimmt. Durch die Performance-Algorithmen des Vienna Instruments-Players werden die Spielmöglichkeiten auf optimale Weise ausgenutzt, z. B. mit den automatischen Repetition Performances,. Der 54 GB umfassende Sample-Pool beinhaltet ungeloopte Sustain-Samples mit oder ohne gedrücktem Haltepedal in sieben Anschlagstärken, Tonwiederholungen, echte aufgenommene Resonanzsamples bei gedrücktem Pedal, vielfache Release-Samples sowie die tonlosen Tastengeräusche.

boesendorfer pic deDer Boesendorfer 290 Imperial ist der weltweit einzige Konzertflügel mit neun Sub-Bässen bis zum Subkontra-C und einem daraus resultierenden Tonumfang von acht Oktaven. Diese zusätzlichen Töne verleihen dem Instrument nicht nur einen satteren und voluminöseren Klangcharakter, sondern ermöglichen zudem auch die originalgetreue Reproduktion einiger Werke von Bartók, Debussy, Ravel und Busoni.

 


Erstmals in der Geschichte gesampelter Pianos ist es gelungen, die bei gedrücktem Haltepedal entstehenden Resonanzen aufzunehmen und so das Verhalten zwischen pedalisiertem und nicht pedalisiertem Klavierspiel auch physikalisch richtig abzubilden. Beim Boesendorfer Imperial Vienna Instrument gibt es keinerlei Sample-Manipulationen, keine Fades zwischen einzelnen Tönen und auch keine DSP-Berechnungen, sondern ausschließlich die unverfälschte, naturgetreue Abbildung der akustischen Vorgänge, die beim Spiel des Klaviers entstehen. Das Team hat eine Aufnahme- und Mapping-Technik entwickelt, die zu einer einzelnen angeschlagenen Note alle echten Saitenresonanzen hinzufügt, wenn das Pedal gedrückt wird. Deshalb reagiert dieses Vienna Instrument exakt so, wie man es von einem echten Klavier gewohnt ist, da erstmalig die Pedaltonklänge als eigenständige Samples zur Verfügung stehen.

boesendorfer pic de2Eine weitere Innovation stellen die Repetition Performances dar. Diese Samples werden automatisch abgespielt, wenn eine bereits schwingende Saite erneut angeschlagen wird. Beim Boesendorfer Imperial Vienna Instrument sind Tonwiederholungen echte Repetitionen, da mit jedem Tastenanschlag gleicher Tonhöhe ein neues Sample getriggert wird.

Zusätzlich zur akustischen Abbildung aus der Sicht des Pianisten kann der User wahlweise auch die Position eines im Konzertsaal sitzenden Zuhörers einnehmen, als stünde das Klavier auf der Orchesterbühne. Jede der beiden Positionen wird durch ein eigenes Set von 4675 Samples abgebildet.

Bei der Boesendorfer Imperial Collection gibt es keine Unterteilung in Standard- und Extended Library wie bei anderen Vienna Instruments Collections. Die Standard Library enthält bereits die vollständigen Samples sowie den Software-Player bzw. die Audio Engine.

  Standard Library Full Library
Anzahl Samples 9.350 -
Dateigröße des Downloads 17,4 GB -
Installierte Dateigröße 36,8 GB -
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info Mehr Infos

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review Testberichte

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Flag ENspaceSound on Sound 5/2007


This is the one Vienna fans have been waiting for. Though the string sections in VSL's Pro Edition library and Orchestral Strings I & II Vienna Instruments are beautifully played, exquisitely sampled and turn in a broader range of performances than Peter Sellers in his heyday, they have been said to lack the requisite lush, romantic 'instant Hollywood' sound. VSL have addressed this by recording Appassionata Strings (AS), an 18GB (12GB when installed) set of large string ensembles designed to provide a more overtly emotional, wide-screen listening experience - less European art film, more Titanic.

A substantial chunk of this title's 20-player violin section's samples was made available last year, as a free bonus to registered owners of VSL's existing strings. The 20 fiddlers are now joined by 14 violas, 12 cellos and 10 double basses. Having been scaled up from the Pro Edition's 14/10/8/6 format, the new sections make a correspondingly bigger sound, and approximate the number of strings used in a full-scale orchestra. As with all VSL projects, the recordings were made in the relatively dry acoustic of the company's Silent Stage - if you want a concert hall sound, add your own reverb!

All four of the AS string sections have a full, beautiful, sheer sound. Unsurprisingly, the new violins sound more lush than VSL's original 14-piece section and, as the name suggests, they play with a stronger, more impassioned vibrato, which is emotional and engaging without sounding mawkish. The 'progressive vibrato' delivery is very nice, adding timbral and dynamic mobility and making this attractive section sound even more expressive.

The 12 cellos' tremolos and pfp samples are gorgeous, and their monophonic performance legatos (interval-specific sample sets optimised for the creation of smooth melody lines) are toe-curlingly good. The violas sound equally sumptuous, their rich sound and wide range making them an inspirational patch for composition. If compared to the double basses in Orchestral Strings II, the AS bass section wins out in all areas except the pizzicatos, where they sound somewhat less punchy. The AS basses' menu of styles is relatively limited and, unusually for VSL, no performance legatos are provided for them.

One nice touch is that the violins, violas and cellos performance legatos contain sinuous Bollywood-style slides, which can be instantly accessed with a keyswitch. I also liked the three-note chromatic 'grace runs' - good Tom & Jerry comedy fodder. Samples are provided which start off out of tune then gradually drift into pitch; the idea (instigated in Vienna's Brass I) is good, but for me the musical effect falls between two stools - the initial skewed intonation rules out conventional usage, but the detuning is arguably too subtle for use in horror scores. AS's creepy atonal cluster chords and chaotic 'random pizzicato' samples are a better bet for that sort of work.

Getting a romantic Hollywood sound is easy with these samples, but more aggressive deliveries are few and far between. 'Harsh' performance samples are the only truly gutsy-sounding articulation here, but only the violins play them. To help busy composers, VSL have lashed together the four sections into ready-to-play 'full strings' programs, in a handful of basic styles. The Vienna Instrument doesn't permit users to create their own keymaps, so if you want to build more of these multi-section ensembles you'll have to find a workaround using your sequencer or VST host.

Choosing between AS and Orchestral Strings I & II (reviewed in SOS in November 2006) is a tough call; AS's lusher sound is an obvious winner, but the latter's far greater number of articulations (which include 'fast attack' trimmed sustains, flautando, played trills, snap pizzicato, harmonics, sul ponticello, con sordino, col legno, grace notes, glissandi, scale runs and so on) is indispensable for detailed string arrangements. Buying all three collections would be hard on the pocket, but the prospect of the luxurious combinations they can produce is mouth-watering.

Need a piano to go with your orchestra? Then you should definitely check out VSL's new Bšsendorfer Imperial Vienna Instrument, which weighs in at a hefty 36.7GB (installed size). The instrument (a Bšsendorfer 290 nine-foot grand) has 97 keys and spans eight octaves. To be honest, it's hard to discern the pitch of the sub-bass notes below A0, but they certainly make an exciting, thunderous rumble!

This piano is characterised by an open, clean and stately sound and a very clear attack which is discernible at all dynamics - even the quietest notes speak clearly and distinctly. This clarity would be a great asset when playing the precise mathematical inventions of JS Bach, negotiating the dense note-blizzards of a Rachmaninov piano concerto, or for making sure the instrument stays audible in a full orchestral score, but it might be a handicap when it comes to the more ambiguous, lyrical and intimate sonorities required for solo piano jazz improvisation. Either way, I was impressed with the way the samples respond smoothly and naturally to the touch, with no obvious jumps between the seven dynamic layers.

VSL have dealt with the notoriously difficult problem of replicating the effect of the sustain pedal by sampling a full set of 'pedal down' samples at seven dynamics. Since you can use any controller to switch between articulations, it's easy to set up a patch in which pressing the sustain pedal accesses the pedalled samples, but unlike on a real piano, you won't hear the effect until you play the next note. If you prefer a softer, less focused piano sound, a more distant miking with less obvious stereo imaging is also provided.

The precise, formal sound of this superior instrument lends itself to orchestral arrangements, and the identical recording conditions guarantee that it will blend well with VSL's other instruments. Committed Vienna collectors will buy this without hearing it, but piano sound being such a personal thing, I'd strongly advise checking out the demos on VSL's site before you buy.

5 STARS  Review: VSL Appassionata Strings / Bosendorfer Imperial  Sound on Sound, May 2007

This is the one Vienna fans have been waiting for. Though the string sections in VSL's Pro Edition library and Orchestral Strings I & II Vienna Instruments are beautifully played, exquisitely sampled and turn in a broader range of performances than Peter Sellers in his heyday, they have been said to lack the requisite lush, romantic 'instant Hollywood' sound. VSL have addressed this by recording Appassionata Strings (AS), an 18GB (12GB when installed) set of large string ensembles designed to provide a more overtly emotional, wide-screen listening experience - less European art film, more Titanic.

A substantial chunk of this title's 20-player violin section's samples was made available last year, as a free bonus to registered owners of VSL's existing strings. The 20 fiddlers are now joined by 14 violas, 12 cellos and 10 double basses. Having been scaled up from the Pro Edition's 14/10/8/6 format, the new sections make a correspondingly bigger sound, and approximate the number of strings used in a full-scale orchestra. As with all VSL projects, the recordings were made in the relatively dry acoustic of the company's Silent Stage - if you want a concert hall sound, add your own reverb!

All four of the AS string sections have a full, beautiful, sheer sound. Unsurprisingly, the new violins sound more lush than VSL's original 14-piece section and, as the name suggests, they play with a stronger, more impassioned vibrato, which is emotional and engaging without sounding mawkish. The 'progressive vibrato' delivery is very nice, adding timbral and dynamic mobility and making this attractive section sound even more expressive.

The 12 cellos' tremolos and pfp samples are gorgeous, and their monophonic performance legatos (interval-specific sample sets optimised for the creation of smooth melody lines) are toe-curlingly good. The violas sound equally sumptuous, their rich sound and wide range making them an inspirational patch for composition. If compared to the double basses in Orchestral Strings II, the AS bass section wins out in all areas except the pizzicatos, where they sound somewhat less punchy. The AS basses' menu of styles is relatively limited and, unusually for VSL, no performance legatos are provided for them.

One nice touch is that the violins, violas and cellos performance legatos contain sinuous Bollywood-style slides, which can be instantly accessed with a keyswitch. I also liked the three-note chromatic 'grace runs' - good Tom & Jerry comedy fodder. Samples are provided which start off out of tune then gradually drift into pitch; the idea (instigated in Vienna's Brass I) is good, but for me the musical effect falls between two stools - the initial skewed intonation rules out conventional usage, but the detuning is arguably too subtle for use in horror scores. AS's creepy atonal cluster chords and chaotic 'random pizzicato' samples are a better bet for that sort of work.

Getting a romantic Hollywood sound is easy with these samples, but more aggressive deliveries are few and far between. 'Harsh' performance samples are the only truly gutsy-sounding articulation here, but only the violins play them. To help busy composers, VSL have lashed together the four sections into ready-to-play 'full strings' programs, in a handful of basic styles. The Vienna Instrument doesn't permit users to create their own keymaps, so if you want to build more of these multi-section ensembles you'll have to find a workaround using your sequencer or VST host.

Choosing between AS and Orchestral Strings I & II (reviewed in SOS in November 2006) is a tough call; AS's lusher sound is an obvious winner, but the latter's far greater number of articulations (which include 'fast attack' trimmed sustains, flautando, played trills, snap pizzicato, harmonics, sul ponticello, con sordino, col legno, grace notes, glissandi, scale runs and so on) is indispensable for detailed string arrangements. Buying all three collections would be hard on the pocket, but the prospect of the luxurious combinations they can produce is mouth-watering.

Need a piano to go with your orchestra? Then you should definitely check out VSL's new Bšsendorfer Imperial Vienna Instrument, which weighs in at a hefty 36.7GB (installed size). The instrument (a Bšsendorfer 290 nine-foot grand) has 97 keys and spans eight octaves. To be honest, it's hard to discern the pitch of the sub-bass notes below A0, but they certainly make an exciting, thunderous rumble!

This piano is characterised by an open, clean and stately sound and a very clear attack which is discernible at all dynamics - even the quietest notes speak clearly and distinctly. This clarity would be a great asset when playing the precise mathematical inventions of JS Bach, negotiating the dense note-blizzards of a Rachmaninov piano concerto, or for making sure the instrument stays audible in a full orchestral score, but it might be a handicap when it comes to the more ambiguous, lyrical and intimate sonorities required for solo piano jazz improvisation. Either way, I was impressed with the way the samples respond smoothly and naturally to the touch, with no obvious jumps between the seven dynamic layers.

VSL have dealt with the notoriously difficult problem of replicating the effect of the sustain pedal by sampling a full set of 'pedal down' samples at seven dynamics. Since you can use any controller to switch between articulations, it's easy to set up a patch in which pressing the sustain pedal accesses the pedalled samples, but unlike on a real piano, you won't hear the effect until you play the next note. If you prefer a softer, less focused piano sound, a more distant miking with less obvious stereo imaging is also provided.

The precise, formal sound of this superior instrument lends itself to orchestral arrangements, and the identical recording conditions guarantee that it will blend well with VSL's other instruments. Committed Vienna collectors will buy this without hearing it, but piano sound being such a personal thing, I'd strongly advise checking out the demos on VSL's site before you buy.

5 STARS 
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product ratings Bewertungen

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Die hier angezeigten Bewertungen, sind von Kunden, die dieses Produkt auch bei uns erworben haben. Alle Bewertungen wurden über das unabhängige Portal eKomi abgegeben.

 
Sprache: deutsch
1.0 of 5

Die Installation war das Mühsamste, was ich bis jetzt auf diesem Gebiet kennengelernt habe. Nach langem Hin und Her mit dem support von VSL wurde mitgeteilt, dass der aktuelle Download Manager keine 32-Bit Systeme unterstützt. Ich habe ein solches. Mit einem älteren Download Manager aus dem Archiv funktioniert es. Auch nach dem Download der Library gibt es Probleme, sofern nicht sofort mit der Installation begonnen wird, sondern dies zu einem späteren Zeitpunkt getan werden soll. Der Download Manager konnte mit der gespeicherten Library nichts anfangen, sodass mit dem Download von vorne begonnen werden musste. Vielleicht gibt es einen anderen Weg. Ich habe ihn nicht gefunden. Absolut Konsumentenunfreundlich!

06.04.2016
Sprache: deutsch
5.0 of 5

Klanglich optimal für den kleinen Geldbeutel. Große Klasse! Schade nur,dass keine Backup-CDs,sondern nur eine Festplatte zur Dateirückhaltung zur Verfügung stehen. Aber auf jeden Fall zu empfehlen. Benutze ihn selbst für Soundtracks,und ich muss nicht viel bearbeiten,denn der Klang ist einfach phänomenal!!!

04.03.2015
Language: englisch
5.0 of 5

I use Bossendorfer Piano for music composing. All products of VSL is best for realistic sound.

06.12.2015
 
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requirements Systemanforderung

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VSL poweredDer Erwerb einer VSL-Library berechtigt Sie auch zum Gratis-Download des Software-Players Vienna Instruments, der die Mixing- und Host-Software Vienna Ensemble enthält.

• PC Windows 7 (neuestes Service Pack, 32/64-bit), Intel Core 2 Duo oder AMD Athlon 64 X2
• Mac OS X 10.8 (neuestes Update), Intel Core 2 Duo
• 2 GB RAM (4 GB empfohlen)
• ViennaKey (Vienna Symphonic Library USB Key) oder anderen USB eLicenser (z.B. von Steinberg oder Arturia)
• eLicenser Control Center Software (die neueste Version finden Sie unter www.eLicenser.net)
• freien Festplattenplatz entsprechend folgender Speicherplatz Bedarf Tabelle

Andere Konfiguration sind möglich, werden aber nicht aktiv unterstützt.

EMPFOHLEN
• PC Windows 7 (neuestes Service Pack, 64-bit), Intel i5/i7/Xeon
• Mac OS X 10.9 (neuestes Update), i5/i7/Xeon
• Schnelle, separate Festplatte (7200 rpm oder SSD)
• AU/VST/AAX Native/RTAS kompatiblen Host (funktioniert auch stand-alone)
• RTAS Version benötigt Pro Tools 7.3 oder höher
• AAX-Version benötigt Pro Tools 10.3.5 oder höher
• 88 Tasten Master Keyboard
 

 

elicenserProdukt Aktivierung:
Vienna Instruments und Software benötigen einen ViennaKey!
Der USB-Dongle von eLicenser (Steinberg, vormals Syncrosoft) ist nicht in der Packung der Vienna Instruments enthalten, sondern muss separat erworben werden. Sie müssen also zumindest einen ViennaKey gemeinsam mit Ihrer ersten Collection bestellen. Er wird automatisch mit dem ersten Instrument in den Warekorb gelegt, kann aber wieder gelöscht werden, falls Sie ihn nicht benötigen. Besteller des gesamten SYMPHONIC CUBE erhalten einen ViennaKey gratis (erscheint nicht im Warenkorb). Jeder ViennaKey kann bis zu 100 Produktlizenzen speichern.
Ausserdem benötigen Sie eine Internetverbindung auf einem beliebigen Computer, um einen ViennaKey zu autorisieren.

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