Also check out this 1930s upright 'Gaveau de Pepe Lepeut' on the fxp. page and maybe even Thelonius Monks piano fxp. there too!

Does anyone know where I can find these fxp's? They sound just like what I am looking for but don't appear to be in the fxp corner for some reason.

Am also looking for a prepared piano,  John Cage style of course. If any one has any sugestions.

One can always rest assured that this MODARTT team is working on something of real value behind the scenes (though we must hope that they had some good summer vacations).  Until they prove me otherwise, I'm happy to wait for the next surprise!

:-)

With the YC5 model, we can really rest assure that the next version be nothing but jaw dropping. But even then, I believe that our insatiable desire for ultimate realism will kick in again, and a thread like this will inevitably arise (yet again).

However, I am sure that there will come a point in time when physical modeling gets soooo close, that acoustic piano will be relegated to the position of analogue music of today: in the cradles of die-hard purists of vinyl records, decrying what they believe to be the last bastion of "realism".

Just think in Nyquist! That day will come!

I too think they've achieved a great work at Modartt, well done.

Please release only if the essential requests are met. Anything other than this would be premature and would only discourage potential new customers. Listen to why people haven't brought Pianoteq (Sound issues etc..).

Whilst version three is very good and could be upgraded, version four (Pro version?) has to be perfect.

TEST, TEST, TEST has to be the order of the day.

At the end of the day, every review and forum should say: WOW!

I agree that releasing PTQ prematurely on account of quality etc... would  not necessarily be a good move. However, let's give these guys the credit they deserve - they have done a gorgeous and ground breaking job until now, and have been very generous and responsive about it. We should not and can not expect PERFECTION out the next version, as we cannot expect it from any other piece of software. That would also mean that it would be the last version of Pianoteq, or any other piano software for that matter, and maybe even of some acoustic pianos.
I would have rather hoped for a bright long and prosperous future of significant improvements, that appear in reasonable intervals.
I would love to see Pianoteq Pro coming soon, with significant sound improvements. But I don't expect it to be perfect.

Whilst version three is very good and could be upgraded, version four (Pro version?) has to be perfect.

TEST, TEST, TEST has to be the order of the day.

At the end of the day, every review and forum should say: WOW!

Greg.

It's the sound I've been looking for (at least almost).  The very high treble may be a bit thin in a couple of spots ((Eb8), but this probably accurately portrays the real thing.

But the bass and mid range really suits me well.

I use four mics:  one on each side of the pianist at head level, one over the middle of the soundboard just under the lid, and another on the short right side at the same height and the third.  I find that the one centered over the soundboard really adds to the bass clarity and strength.

I tried the YC5, and found the lower couple of octaves a bit light (a 5'-8" Yamaha perhaps? - I had one for twenty-odd years and have witnessed the longitudinal wave problem in the bass).

Of course we must always keep in mind that what we hear depends first and foremost on what we are using to produce the sounds (soundcard and speaker system).

Glenn

Wow, how can I have overlooked the C5 for so long? It really does sound very good! In fact I just bought it!

So did I!  I wasn't overly impressed by the demo, but decided to take the plunge and it is indeed - out of the box - a world apart from all my efforts at tweaking the M and C3 models. In fact, I'd all but abandoned them in favour of the Erard which, in itself, had to have a lot of tweaking in the note-by-note volume to be "playable" but even then, didn't really feel "together."

The YC5 is a completely different beast - I find myself examining jazz chords and emphasizing different notes to create different colours, or even picking out the individual voices effortlessly in Bach's Chromatic Fugue.  Schubert's 3rd Impromptu (Gb Major) is a nightmare with the other presets but with YC5 (middle and forte hammer hardness slightly decreased per Beto's recommendations) it is wonderfully lyrical and finally an amateur such as I can see a point to struggling along with this stuff rather than just buying a CD.

Splendid stuff, Modartt!