QL PIANOS TEST (1) - BOESENDORFER 290

You can also visit my other new channel:
http://www.youtube.com/JustPianoforte
There I just start to make some tutorials for Jazz musicians beginners, and more :-)

This is a Software, with a record of the Great Grand Piano Bösendorfer 290 (Vienna-Austria), a real and very high fidelity recording of piano sampler.

I use this piano with a Pentium computer Quad 2400 Mhz x 4, Asus Motherboard
with 8 GB RAM, 500 GB HDD, Soundcard RME HDSP 9632 Adat, Windows Vista Ultimate System 64 Bit.

Info about Sampler:
A sampler is an electronic musical instrument closely related to a synthesizer. Instead of generating sounds from scratch, however, a sampler starts with multiple recordings (or "samples") of different sounds, and then plays each back based on how the instrument is configured. Because these samples are usually stored in RAM, the information can be quickly accessed.
The sampler has become an important instrument in hip hop, electronic music, and avant-garde music.
Unlike traditional digital audio playback, each sample is associated with a set of synthesis parameters, and can thus be modified in many different ways.
Most samplers have polyphonic capabilities - they are able to play more than one note at the same time. Many are also multitimbral: they can play back different sounds at the same time.

Historical overview:

The emergence of the digital sampler made sampling far more practical, and as samplers added progressively more digital processing to their recorded sounds, they began to merge into the mainstream of modern digital synthesizers. The first digital sampler was the EMS Musys system developed by Peter Grogono (software), David Cockerell (hardware and interfacing) and Peter Zinovieff (system design and operation) at their London (Putney) Studio c. 1969. The system ran on two mini-computers, a pair of Digital Equipments PDP-8s. These had the tiny memory of 12,000 (12k) bytes, backed up by a hard drive of 32k and by tape storage (DecTape)—all of this absolutely minuscule by todays standards. Nevertheless, the EMS equipment was used as the worlds first music sampler and the computers were used to control the world's first digital studio.
The first commercially available sampling synthesizer was the Computer Music Melodian (1976). The first polyphonic digital sampling synthesiser was the Australian-produced Fairlight CMI which was first available in 1979.
Prior to computer memory-based samplers, musicians used tape replay keyboards, which stored recordings of musical instrument notes and sound effects on analog tape. As a key was pressed, the tape head would contact the tape and play a sound. The Mellotron was used by a number of groups in the late 1960s and 1970s. Such systems were both expensive and quite heavy due to the multiple tape mechanisms involved. These same factors limited the range of the instrument to at most three octaves. If the user wished to change sound, they would often have to change out many tapes—not practical in a live setting.
Modern digital samplers use mostly digital technology to process the samples into interesting sounds. The E-mu SP-1200 percussion sampler progressed Hip-Hop away from the drum machine sound upon its release in August 1987, ushering in the sample-based sound of the late 1980s and early 1990s. Later, Akai pioneered many processing techniques, such as Crossfade Looping to eliminate glitches and Time Stretch which allows for shortening or lengthening of samples without affecting pitch and vice versa. The limiting factors in the early days were the cost of physical memory (RAM) and the limitations of external data storage devices.
During the early 1990s hybrid synthesizers began to emerge that utilized very short samples of natural sounds and instruments (usually the attack phase of the instrument) along with digital synthesis to create more realistic instrument sounds. Examples of this are Korg M1, Korg O1/W and the later Korg Triton and Korg Trinity series, Yamaha's SY series and the Kawai K series of instruments. This made best use of the tiny amount of memory available to the design engineers.
The modern-day music workstation usually features an element of sampling, from simple playback to complex editing that matches all but the most advanced dedicated samplers. The primary difference is that the workstation also includes additional features such as a sequencer to provide flexibility for composers.
Samplers, together with traditional Foley artists, are the mainstay of modern sound effects production. Using digital techniques, various effects can be pitch-shifted and otherwise altered in ways that would have required many hours when done with tape.

Category:

Music

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• Quantum
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• pianos
• BOESENDORFER
• music
• software
• sampler
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[MrCrgl]

Hi, are ther 2 Bosendorfers 290 in East West catalogue ? I see they sold a Bosendorfer 290 (3GB) and also sold a collection which includes a BOsendorfer 290 and 4 other pianos (55GB) Quantum Leap Pianos Gold. Do you know if both Bosendorfers are the same ?

[PianistaItaliano]

@MrCrgl I do not know if is the same, sorry

[Superphilipp]

Aw, I wanted to hear the low low keys.

[PianistaItaliano]

@Superphilipp you do not hear the low keys?

[marto877]

@PianistaItaliano wow 97!!? thats amazing and huge... you said the Bosendorfer 290 has 97 keys but yours has 88... i thought all Bosendorfers 290 were the same. thanks!

[PianistaItaliano]

@marto877 on this piano the lowest note is A0 with 88 keys,

but there are also other pianos wich have even more low notes, for example one model of the Seiler Grand piano with 90 Keys or Bösendorfer 225 with 92 Keys or Bösendorfer 290 has 97 keys. However apart from these there are certainly many other pianos with less or more keys.

[marto877]

@PianistaItaliano oh i see...and that's the lowest note that any piano can play? thank you!

[Superphilipp]

@PianistaItaliano I do, but not the really nifty ones. You know the ones only the Bösendorfer has, down to C0.

[sax0tenor]

great playing man. at last a true pianist posting on youtube.

[MusicMan20061210]

What about the Double Escapement feature that is part of a Grand Piano,for enabling rapid trills?

Letting the key up only partly after striking a key,which lets the damper stay off the string and enabling a re-strike.

Without that feature it's a useless tool for any serious classical piano playing.