Vibrating glasses - Transducer? Sound design?

Thank you Gilles for the suggestions.

I've been experimenting again an these are the results (through the internal speakers of the piano):

1. I've tried to play sampled pianos "Galaxy Steinway" (from Galaxy II Pianos) and "The Grandeur" (from Native Instruments) and they both combine perfectly with Kawai's speaker system, actually tried out more sampled pianos and they all were much satisfying to play, similar full and vibrating sound to the on-board ones from Kawai (different characters though).

2. I've tried Pianoteq, several patches with several perspectives, playing around with the equalizer, trying to boost the bass 250Hz and downwards, adding some compression.. even tried to edit the sprectrum profile of single notes F2 and F1 because changing the spectrum profile in the main interface affects all notes and that sounded weird, the result was kinda better but still not a full sound like in the sampled ones. I even tried Arturia V-Piano 2 which is modelled too, and to my surprise I got same result like with Pianoteq, hollow and thin sound, somehow linear and lacking life.

This leads me to think that there's nothing wrong with my piano speaker system, I've even tried to play some pop music on it (MP3) and it sounded good enough.

The problem I'm having with Pianoteq is that I only like it when it's through headphones, no way to let it grow on me when it comes to real speakers, even with the monitors I have it sounds somewhat unrealistic, I don't know whether I'm saying this because it's just straight away after having been some hours trying here and there, I love the theory behind the programm and the playability it offers, but I'm somewhat frustrated with the sound.

This is again something that makes me discard any option of having a mid-range DP say an FP90 with its nice action plus Pianoteq and a couple of monitors. I think the only way Pianoteq would make a difference in this sense, would be integrating it in a digital piano of theirs, that is Modartt's design so that the entire combo would just sound exceptional with all the editing capabilties that it's got.

In the same line, I wonder whether combining Pianoteq with the "Resonance Piano" (a Grand cabinet that emulates an acoustic piano for any digital) would really solve the problem and bring up some realism to the experience of playing it.

https://www.resonancepiano.com/en/

From my experience and just sticking to realism, I can say that there's no color betwen piano sound system and studio monitors, since in the first, sound is emanating from many different sources and mixing up in the resonance board (my case with the CA97), and that definetely goes a level up in the feeling and realism, that's why I'm trying and trying to get Pianoteq sound as good as any sampled piano through my digital, and even though I prefer it rather through my digital than the monitors themselves.

Guessing what frequencies and which harmonics of which exact notes I gotta change (if it surely was the problem) is just a chance for me to mess up and destroy the original sound I was trying to work on, since you're blind editing. If we add the possibility of the "problem" to be compression or EQ, I could take ages to finally get the result (if any), that's why I think that this should be a thing that should be available out of the box, like integrated in a speaker system at least, if we wanna skip the controller part for Modartt.

Regards,
David

David,

I'd recommend experimenting with the microphone position, and I completely agree with Gilles that nearly all samples are taken with close miking.  Several of us have been trying in other forum posts to get an "ideal" microphone placement to match transducers.  While the results aren't perfected, something like these settings below give a very clean and direct sound, since the microphones are located near the middle of the bass and treble bridge connections near the soundboard.  Delay and Level Compensation should be set to off.  Microphone #1 should be set to -6 on the left channel and Off on the right channel, and Microphone #2 should be set to -18 on the Right Channel and Off on the left channel.  Overall instrument volume should be between -18 and -12.

Microphone #1

X = +0.380
Y = +2.220
Z = 0.840
Angle = +180.0
Vertical Angle = -90.0

Microphone #2

X = +0.740
Y = +1.080
Z = 0.844
Angle = -180.0
Vertical Angle = -90.0

Regarding the F notes that shake the glass in your room.  Run a slow Sine Wave Test Tone Sweep from 20Hz to 20kHz and listen for the same rattling from different speakers and speaker placement in the room.  It is mostly likely a "room tone" at some fundamental frequency of the wall dimensions of your listening space.  In a small space like mine, the 10ft walls (if not properly treated with acoustic foam, speaker placement, isolators) will build tones that either cancel or get significantly amplified.  My room, before treatment, had a 60Hz tone that cancelled and dropped multiples of 2 and 60, like 120Hz and 240Hz, as well.  I also have a solid Alder desk built into the walls that takes about half of my listening room, and when I used speakers that weren't "isolated" the wood would absorb the kinetic energy of some fundamental frequencies and change its pitch, making the desk and walls vibrate at the same or a different frequency.  My guess is that the glass in the room is absorbing kinetic energy and if you move your speakers or isolate them, the problem will go away.  (I use isolators that I made from sheets of solid styro wall insulation capped with a block of stone tile.)