VI16 Boesendorfer Imperial

The big Vienna Instruments DVD Collections are the most powerful sample-based orchestral virtual instruments ever created. The collections, organized in instrument-categories offer the most complete playing techniques and articulations of all instruments, enabling you to create sonic results of the highest caliber and utmost authenticity.

With the support of “Bösendorfer Klavierfabrik” the Vienna Symphhonic Library team has developed its first sampled grand piano software instrument, a true recreation of a Bösendorfer 290 Imperial that was tuned and regulated by the piano manufacturer’s best engineers and piano technicians. The Vienna Instruments Collection Bösendorfer Imperial makes full use of Vienna’s new proprietary engine and performance algorithms including automatic repetition performances. Its massive and unprecedented 54 GB sample set includes unlooped sustain samples in pedal up and pedal down variations and in 7 velocity layers, tone repetitions, real recorded sustain pedal resonances, multiple release samples, and key noises.

The Boesendorfer 290 Imperial is the only concert grand in the world to have nine sub-bass notes, extending downward to low C, and giving it a keyboard range spanning eight octaves. These extra notes not only provide added richness and depth to the instrument overall, but they enable the performance of works originally scored with lower notes, by composers such as Bartók, Debussy, Ravel and Busoni.

For the first time in the long history of piano sampling, the sound of the piano in its resonating state – with the sustain (damper) pedal depressed – has been captured. This results in the physically correct recreation of the piano’s resonant character in both pedal-down and pedal-up positions. With the Boesendorfer Imperial Vienna Instrument there are no sample manipulations, no fades between tones, and no DSP calculations, just an absolutely natural acoustic image of the actual processes that occur during piano playing. The Vienna team has developed a recording process that adds to a single tone the exact sound that is created when the pianist presses the piano’s sustain pedal, allowing other strings to vibrate. So the Vienna Instrument acts just like the piano itself, creating the characteristic pedal tone sound which now for the first time is available in the shape of samples.

Another innovation is the Repetition Performances. These samples take into account the sound created when a vibrating string is struck again. With Vienna Instruments’ Boesendorfer Imperial, repeated notes of the same pitch are actually played repetitions, meaning that a new sample is heard with every keystroke.

Apart from the acoustic perspective of the pianist, the user is also provided with concert hall audience perspective, for proper imaging on the orchestral stage. Each of the two listening positions totals at 4,675 samples.

The Boesendorfer Imperial Collection is not divided into Standard and Extended Libraries like other Vienna Instruments Collections, the Standard package includes the full set of samples along with the software instrument/engine.
 

More infos

Screenshot

System Requirements

• Please notice: The "Extended Library Upgrade" requires the registered "Standard Library" (Virtual Instrument incl. Player) and offers more articulations and a significant enhanced sample content.
  "Standard Library" plus "Extended Library Upgrade" result in a "Full Version"
   

PC

• Intel/AMD with Windows XP/VISTA/7 32Bit and 64Bit versions (Core 2 Duo/i7/Xeon recommended)
   

Apple

• Intel Core 2 Duo/Xeon with Mac OS X 10.5.7 or higher. (Vienna Instruments 4 also works on PPC Macs, although it is not actively supported.)
   

for all

• 1 GB RAM (2 GB or more recommended)
• Fast separate hard drive with space according to your purchased libraries
• ViennaKey (Vienna Symphonic Library USB protection device or other Syncrosoft eLicenser)
• DVD drive for installation
• Vienna Ensemble host software or other VST (OS X, Windows XP/Vista), AU (OS X) or RTAS (OS X) compatible host - also works stand-alone
• Up-to-Date eLicense Control Center (the latest available version from www.elicenser.net is highly recommended)
• 88 key master keyboard (highly recommended) 

Product activation:
Vienna Instruments require the ViennaKey!
This USB protection device by eLicenser (formerly Syncrosoft) is not included in the box of any collection, it is a separate item you have to get additionally. So you’ll have to order at least one ViennaKey with your first purchase. It will be put inside the shopping basket automatically but can be deleted if not required. Customers who order the complete SYMPHONIC CUBE will get one ViennaKey for free (not shown in the basket). If you already own another eLicenser USB protection device (e.g., from Steinberg or Arturia), you can use it for the VIENNA INSTRUMENTS, too. Each dongle can store up to 100 product licenses.
Additionally an internet connection on any computer is required to authorize a VSL product.

Reviews

Sound 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