Not so much,
Modifications: Erard Player, Soundboard impedance 1,58, Sympathetic resonance 1,27 , Mint 0,09, Reverb Small Hall.

In my opinionin, in this preset Player,  it is the modified soundboard impedance that make this piano  produce a richer, more resonant and powerful sound compared to the original preset Player.

The larger soundboard and greater sympathetic resonance, allows it to generate more volume and a fuller tone.
     As Modartt say in the Soundboard window when you point to the slider: ”The greater the soundboard mechanical impedance, the longer the sound becomes”.

Thanks for asking Larry,
I feel honored when someone asks something about my own sound settings. I'm sometimes a bit of a experimenter with Pianoteq, and especially with Organteq ( in case you want to listen here to my post ”Now The Video: Streets in rush hour traffic, improved (Orgtq, Ptq…)   

Best wishes,

Stig

Edit.  To set microphone setting compensation to off, might give even more space.

Thank you for listening and I like your modified Erard! What are your modifications to it, if you don't mind?

Regards,
Larry

Here’s a link to me playing in PianoTeq 8 ten of the historical keyboards, in chronological order. The settings were all on the ‘Recording’ preset, with Condition Wear and Tear set at 0.20, with Small Hall reverb. To me, the 1899 Bechstein starts to sound familiar. 

https://on.soundcloud.com/zXAYYAmt86fvR9D68

The instruments with their pieces are:

1600s Neupert Clavichord - CPE Bach: Cantabile from Sonata in B Minor, Helm number 245, 1774

1697 Grimaldi Harpsichord – Handel: Menuet from Piano Suites, HWV 434, 1733

1790 Schantz – Haydn: Adagio Movement, Hob. XVI/50, Sonata Number 60, 2nd movement, 1795

1796 Broadwood – Beethoven: Sonata in G Major, Opus 49 number 2, 2nd movement, 1797

1835 Pleyel – Chopin: Mazurka in A Minor, Opus 17 number 4, 1832

1841 Frenzel – Brahms: Intermezzo in A Minor, Opus 76, number 7, 1878

1899 Bechstein – Tschaikowsky: The Seasons: June, Opus 37, 1876

1922 Erard – Ravel: Menuet sur le Nom de Haydn (M. 58), 1909

1926 Pleyel – Debussy: Prelude: Voiles (Sails/Veils), Lesure number 117/2, 1909

Modern Steinway D NY – Debussy: La cathédrale engloutie (The Engulfed Cathedral), Lesure number 117/2, 1909

Hello larryhess and welcome to this sub-forum

What you have done is amazing. We can listen to the evolution of the keyboard over the centuries - wow!
That we can listen helps me choose instruments easier when I play a certain type of music. I have enjoyed Erard so far, but now got a better understanding of the value in the old instruments.

And, I love La cathédrale engloutie. In school I had my pupils to make paintings when they listened in music lessons. Got their fantasy pictures. It was an experience.Nice.

Here an example wih Erard 1922 , I like this Erard a bit modified, can be used with more ”modern” music too  And. I’m an old amateur.

https://forum.modartt.com/uploads.php?f...0Erard.mp3

Nice to meet you larryhess

Best wishes,

Stig

https://on.soundcloud.com/zXAYYAmt86fvR9D68

The instruments with their pieces are:

1600s Neupert Clavichord - CPE Bach: Cantabile from Sonata in B Minor, Helm number 245, 1774

1697 Grimaldi Harpsichord – Handel: Menuet from Piano Suites, HWV 434, 1733

1790 Schantz – Haydn: Adagio Movement, Hob. XVI/50, Sonata Number 60, 2nd movement, 1795

1796 Broadwood – Beethoven: Sonata in G Major, Opus 49 number 2, 2nd movement, 1797

1835 Pleyel – Chopin: Mazurka in A Minor, Opus 17 number 4, 1832

1841 Frenzel – Brahms: Intermezzo in A Minor, Opus 76, number 7, 1878

1899 Bechstein – Tschaikowsky: The Seasons: June, Opus 37, 1876

1922 Erard – Ravel: Menuet sur le Nom de Haydn (M. 58), 1909

1926 Pleyel – Debussy: Prelude: Voiles (Sails/Veils), Lesure number 117/2, 1909

Modern Steinway D NY – Debussy: La cathédrale engloutie (The Engulfed Cathedral), Lesure number 117/2, 1909