Interesting - quite.

I'm actually with him on a lot. Kawai has great action, with their composite parts. Better than a lot of Steinways. The consistency of composites really help.

But I really don't get the big deal with Bosendorfer. I've tried a couple, and was underwhelmed. Not that they were bad, but given the status and the hype, I was expecting to be blow away, and I wasn't. At the end of the day, it's about the feel and the sound. I couldn't care less how innovative or unique it is. (Maybe it's because, as he points out, the new Bosendorfers aren't designed like the old ones?)

Best piano I ever played was the Horowitz Steinway.

Sweetest tone I ever heard though was from a Pleyel. But the action was terrible (grossly exaggerated escapement bump), and forget about fortissimo! But oh man, the tone was sublime. Can't think of a more suitable piano for a Chopin Nocturne.

Bosendorfer has had a somewhat troubled history; at one time, they were owned by Kimball pianos (ouch).  They have been owned by Yamaha for about two years now; time will tell where this leads.

I've played a few and like them very much, but I'm not a fan of bright brassy pianos (I tolerated my Yamaha because I could afford it).  Bosies are darker and warmer.  In north America, we've been conditioned to the NY Steinway sound, and for jazz this is probably very good.

Horowitz had his choice of any number of Steinways, and was a guest of Steinway at their NY residence (and as the site points out, there can be considerable variation in Steinways).

I would love to get my fingers on a Fazioli - but will likely never even see one.

I'm reluctant to use the word "best", particularly with pianos, because I think it's meaningless.  Best for what?  Chopin, Beethoven, jazz, whatever.  However, the consummate technician deals with all aspects of a piano from durability, touch, and tone, so his comments carry some weight.

Glenn

What excites me about modeled instruments is the potential to create sounds that are beyond traditional realities. Math is very powerful. Pianoteq may have had a need to start their efforts with modeling real instruments, as the demand from the market is there for them. But the real venture is ahead in using these methods to move beyond the normal realm.

This is not trivial. It is easy to mesh-up various sound energies and get absolutely no where. The instrument must breath and be alive, else as artists we have no pallet of emotional expression. So yes, it will be an art form un to itself to create new, meaningful instruments---as it has always been. The difference is that physical limitations are not part of the equation.

I think Pianoteq may need to add a physical reality to their own efforts in the form of creating and selling their own master control keyboard. Sadly, the industry is not producing professional product, and the man-machine interface is a limiting factor in the expression. I think we could all get more out of Pianoteq if there were really master series keyboards to help fuel the revolution. I dont think other companies will have interest in making such product when it deviates from their own sales positions.

What a wonderful moment to be at the beginning of a new age!

Pete

Isn't this what Roland has with their V-Piano?  They built a keyboard around their modeled piano.   But the user interface is NOT beeter.  It's worse.  It fact Roland has to supply a computer based model ediotr because the keyboard only has this small LCD.   It think the small 13" Macbook makes the best user interface to a modeler.

Chris, no, I am not suggesting that Painoteq build a master keyboard around the modeling software---but rather to build a separate  master keyboard controller for high-end midi use. The key element being the quality of the response in feel for the player, and exacting electronics to pass forward the midi data with precision to what is being played.

Hosting the model would still be computer related---big screen.

Joshua is on target.

Pete

Glenn, I think you are asking an important question on why model a specific sounding piano. Perhaps at the beginning in doing so we find comfort in knowing that the modeling is fully capable of creating anything. If a specific piano can be modeled then it stands to reason that the modeling is sophisticated and really working quite well.

So then comes the fun part! Breaking out of the tradition and finding other forms of instruments that take us into a new realm. I am very excited to see Pianoteq providing a pro version as a hint towards the future of "making your own instrument." As much as I will enjoy it myself, I delight in thinking of what others will come up with. We are at a renaissance in music once again, and I can only imagine the days ahead.

Pete