How to reproduce sound of piano

Well, if you are going to build a larger, and dedicated sound room, that changes things greatly.

I would build a room at least 16'-20' wide. IMO, anything less is a compromise.

I would also go with double wall construction...lots of bass trapping behind the outer walls.

I would also give the ceiling lots of thought, depending on what type you have to go with?

In a well constructed larger room, you have lots of component/speaker choices at your price level.

Large "fullrange" dipoles would be (my) first choice...(a fresh pair of Apogee fullrage maybe?)

A well designed horn system would be very, very nice (take a look at some of the "Classic Reproductions" systems.)

And of course the "active" ATC's mentioned by Shadorne would be a top choice.

The Beveridge speakers I mentioned above would work fine in the room you are in now (they will play plenty loud in that room)...but they would not be my pick, for large room reproduction.

Dave

IMHO, apart from the issue of the ability of recording engineers to get it down in the first place, and getting an audio system that could make it sound real (i.e. as it would sound at a live performance) just how large would your room have to be? I think very few of us could afford a house with a room large enuf to accommodate a grand piano, let alone a Bosendorfer or Steinway Concert grand playing something orther than Twinkle Twinkle Little Star at anything like the appropriate volume.

Just imagine Beethoven's Hammerklavier, for example, being played as it was played by Giles, or Mussorgsky's Pictures by Richter, in a 20x30 room (or even larger for that matter). I don't think I could imagine it. :-)

I copped out some years ago even though I probably listen to more classical music for solo piano than anything else. I've learned to focus on the music/performance itself somehow and disconnect the 'audio' connect.

Good points Newbee.

I was at a friends home a while back...checking out his basement refinish job. I had my grand daughter with me, and she spotted his drum set at one end of the room.

She asked him to play them...so he did (he is very good!) That said...the first 15 seconds or so, were more than enough for me.

Dave

I suspect that there may be more ways to skin this particular 'piano cat' than there are audiofools on Agon. In my case, I have achieved magnificent piano results with a system that combines a digital front end, an SS pre, a class D amp, dynamic speakers dipping to 22Hz, and a recently added power conditioner. I listen to about 50% classical piano, the rest is chamber with a smattering of orchestral work and non classical. I will never be so bold as to assert that my way is the only way, rather that it has worked remarkably well and getting better for piano reproduction, as I make careful incremental changes. My system currently consists of TEAC Esoteric X-01 Limited CDp + PAD anniversary PC, Jeff Rowland Capri linestage + Cardas Golden Ref PC, Rowland 312 amp + Shunyata Anaconda Alpha Helix PC, Vienna Acoustics Mahler speakers + Cardas Golden Reference speaker wires. For piano analysis I often use Inna Poroshina playing The Ruins Of the Old Castle by A. Dvorak from a Brilliant Classics box of complete piano works. After I completed my review of Vienna Mahlers and Rowland 312 (TAS 188), I have added to my system a Synergistic Research PowerCell + SR Precision Reference PC. Surprisingly, I have experienced that the harmonic exposure in piano notes has increased to the point that on the lower notes I can easily hear not only the direct ringing of overtones 3, 5, and beyond, but also the faint contribution from treble strings of the grand piano resonating in sympathy with the bass.
In some piano recordings, I can now even identify the anomalous resonance of high strings immediately adjacent to the reinforcement struts of the inner cast iron harp. While I will write about the SR powerCell in a great deal more detail elsewhere on these pages, I suggest that there may be no single electronic/transducer technology to yield supreme excellence in piano reproduction. Rather, every component in a chain of disparate technologies can be synergistic (no pun intended) to overall results. G.

Guido, FWIW I think that your analysis of the value of a collection of audio equipment sort of focus's on its ability to reproduce (and for you to hear when the recording engineer puts his mikes near the sound board) what is going on when you sit next to the piano, just as a conductor hears from the podium, but the reality is that few of us ever do that. Our reality is quite different.

We are usually quite some distance from the piano where these low level sounds, some of which are mechanical and are not in the score at all :-) are lost, but where the dynamics and the appropriate volume rules our appreciation for what sounds like a live piano. But, to get that thru the recording and thru our audio systems it is going to get compressed. And it is that compression that really robs the music of any real sense of liveness. Ultimately you still have suspend your sense of reality and just 'pretend' that it is live.

You might be amused, but I work in a room adjacent to my audio room (accross am open hall way) and I often get caught up more in piano music playing when I'm there than sitting in the sweet spot. :-)