Lanny

I see from the mention above of super sostenuto I see there is indeed one way in which the synth allows an effect which is NOT possible on most pianos at least, perhaps there are others too (I didn't realize they were talking about the implementation of the pedals in general in Pianoteq there previously).

/Users/lannydavis/Desktop/putting TOOTHPASTE BACK in the TUBE... Possible?? - YouTube.webloc

I'm just watching.  ROTFLMAO

Lanny

Basically, DPs and Pianoteq let me cheat. That might sound cool, and it is, but the downside is that you can't play it on an acoustic as written. I have to rewrite that part for acoustic piano, or just live with a prematurely cut-off chord.

I don't understand how Pianoteq let's you cheat. The way the sostenuto and sustain pedals interact is just the same as on an expensive piano. COuld you explain what you mean?  I wouldn't want to practice something on Pianoteq only to find it can't be played the same way on an acoustic piano.

You topic it's very interesting.

May I ask a mp3 of music sheet ?

Ah, now I understand: the additional possibility offered by pianoteq or DPs is tricky because it won't work on an acoustic. So the acoustic pianos have to follow the progress: allow this additional feature

Agreed. But in the meantime, would it be possible for you to at least offer the option to have sostenuto react like on an acoustic?

My apologies then. It sounded like one of those "don't bother Modartt about some minute thing almost no one cares about" type rants. But I re-read it and now I see what you're saying.

Even a "second class" sustenudo can be interesting to someone, especially if it create a effect that you can add to your music, making a nine use of the effect. A matter of taste and creativity.

If you are able to make a fine use of a imperfetion of some piano models, using as a new effect, that's a good thing.
That's why I said the forum can be incredible sometimes, since people here spot many small nuances most people would never notice.

I didn't meant to offend you.  I wrote "second class sustenudo" but I meant as a effect of some pianos, and I wasn't refering to second class playing.

I had no sarcarsm, and I told that Modart it's fast in change small bits to refine pianoteq based in the forum members observations.

That's the thing with measure 42, I should've put little bars above the right hand chords to emphasize legato. The problem with using the sustain pedal beyond measure 42 is that either the right hand chords will quickly turn into a mess, or they'll be cut short.

Basically, DPs and Pianoteq let me cheat. That might sound cool, and it is, but the downside is that you can't play it on an acoustic as written. I have to rewrite that part for acoustic piano, or just live with a prematurely cut-off chord.

Ah, now I understand: the additional possibility offered by pianoteq or DPs is tricky because it won't work on an acoustic. So the acoustic pianos have to follow the progress: allow this additional feature

OK, I need to work this nice prelude But still it doesn't answer my question: what is the difference between A and B (whatever notes are played after pressing the sustain):
A: press sustain, then press sostenuto, then release both (for example)
B: press sustain, then release sustain.

(besides, at bar 42, if you want to keep the A octave, you need first to release the sustain, unless you want to have all notes maintained also? But then again, no need of the sostenuto, the sustain pedal does it)

(A) should be "press sustain, press sostenuto, then release sustain." Currently there's no difference between that and (B), I just thought there was a difference because on digital pianos and in Pianoteq, sostenuto does NOT hold dampers lifted by the sustain pedal.

That's the thing with measure 42, I should've put little bars above the right hand chords to emphasize legato. The problem with using the sustain pedal beyond measure 42 is that either the right hand chords will quickly turn into a mess, or they'll be cut short.

Basically, DPs and Pianoteq let me cheat. That might sound cool, and it is, but the downside is that you can't play it on an acoustic as written. I have to rewrite that part for acoustic piano, or just live with a prematurely cut-off chord.

People here spot the most minucious or sometimes even imaginary things about piano behavior and effects, and in the same week, in a new version update.
I can see Modart creating a new feature... a option to change sustenudo do "second class sustenudo".

For other side...  Ivory (first version) was much talked about, but did not have even half pedal effect.

(besides, at bar 42, if you want to keep the A octave, you need first to release the sustain, unless you want to have all notes maintained also? But then again, no need of the sostenuto, the sustain pedal does it)

Just curious, on an acoustic piano, why would you press the sostenuto pedal after depressing the sustain pedal (apart the checking test, mentioned by Joe, that is used by tuners)?

Prelude in D minor, by Joshua Seth, bar 42.