1. Lessen the soundboard impedance for the lower octaves only (key-scalable). I LOVE the sustain in the upper half -- this feature alone makes PTQ feel far more realistic than most (all?) sampled pianos --, but in the bass range, it somehow sounds "larger than life", especially when played thru a PA speaker system (which would often compress things a bit). Too much of a good thing sometimes.
No idea how this could be implemented into the interface so the user could adjust it. Maybe given the many suggestions along these lines (fine-tune this, keyscale that), there could be an "expert layer" in the interface, normally hidden, where you could go for a sick and otherworldly tweak-o-rama. Or a subtle one, if you're not so extravagant.
Maybe this very property (super-solid sustain) will change with the probable introduction of a miking simulation. The current situation is still a bit like, say, a double bass amplified with a pickup instead of it being miked. Although by far not as extreme as in that example.
2. The sympathetic resonance is really fine, but it has too much of a sudden low-frequency boost to it. That's not quite like the real thing. It should come in in a softer curve. Maybe this would be different with a graded damper pedal. Unfortunately, the one I tried (CME) did not work. Maybe there could be a variable slope of the resonance envelope (synthesizer language).
3. Key scaling curves for overall volume, hammer hardness etc (related to suggestion 1). Reasons for this suggestion: a) Sometimes I would like less bass (not "thinner" but simply quieter notes in comparison with the upper range) and louder high notes. That is not the same as EQing. b) The treble, although greatly improved with the C2 model (still grateful for that!) could sometimes be yet a little softer. Cutting the treble (EQ) here would also affect lower notes. The same goes for hammer hardness.
Again, these properties will very likely be affected by a probable miking simulation.
BTW -- PTQ staff listen --, there is a miking simulation, including a distance parameter, in Apple Logic's EVB3 tonewheel organ. It may not be perfect, but it is a very useful parameter in adjusting the organ sound to certain song context requirements.
4. Randomize. In any real world piano, there are slight variations. Single notes slightly out of tune. Not all dampers coming down exactly at the same time (when releasing the damper pedal -- goes for graded pedals). Single notes with harder/softer hammers. And so on. This could be implemented in form of a "random" slider in each section, influencing the relevant parameters there.
### That's it for now. Not that I want to complain; As many others here (including myself) said: A wonderful instrument already! My suggestions are more on the subtle side.
Thanks a lot
Dominik