Recomendation for speakers BEST for Piano?

Ritteri...Not sarcastic my friend. I guess it is even difficult to agree with you.

A few clarifications:

Khrys, difference tones produced in the
performance/recording venue as a result of real instruments sounding the fundamental frequencies will, by definition, be more accurate than those produced in the listening room by the playback equipment. Why this is so, should not require much explanation. There is much information in the 20hz that gives recording venues their characteristic sound signatures. This is a well documented fact, and easily demontrated by playing a good recording, done in a good hall, and turning those "flat to 20hz" subwoofers off; the soundstage will often shrink in size. There simply does not have to be an actual 20hz (or so) musical tone present in the recording, for the effects of these frequencies to be audible. Subwoofer cones do not need to be working hard and flapping wildly for their contribution to be heard. Simply turn them off and listen to the difference in the sound.

Ritteri, big band with a few tubas? I'm intrigued; seriously. Where can I hear this?

Slotdoc, just a gut reaction: If you think that Maggies and ML's sound fake, I think that, ultimately, you would not be happy with planars at all. Sounds like you would be happiest with a good full range dynamic speaker. Whatever sacrifice you would be making as far as ultimate timbral accuracy, I think would be made up for in the dynamics dept. Ever sit close to a concert grand played at full tilt? The sheer weight and and impact can be scary. For all their beauty of tone, not even Quads can do this.

Happy listening.

Eldartford: I know, Im kidding............

I hope that everyone read the link provided by Onhwy61 in his post on 11/22. I didn't know that recording engineers customarily put microphones inside the piano. As someone who has played a musical instrument I generally like close mic recordings, but inside the instrument seems extreem.

Eldartford, recording for pop/rock music imposes a different set of priorites than for classical or even jazz. Instrument separation is one of the key factors. You don't want the sound of another instrument bleeding into the piano's microphones. If it did, it would hamper the mix down to stereo process. In a small or medium sized studio this presents some problems. If you have access, take a look at photos of Phil Spector, Aretha Franklin, any Motown or Chess recording sessions and take note of how close together the musicians are positioned. One of the solutions to the separation problem is to place the microphones within the piano and close the lid. It won't sound like a real piano, but in most pop/rock mixes the piano isn't "naked" , but instead placed deep within the mix. Any of the classic Elton John tracks is an example of this technique. The engineers placed the microphone(s) inside the piano and covered the piano with several heavy moving blankets.