<html aria-label="message body"><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body style="overflow-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;"><div dir="auto">Carrying the silly further: are you going to support sostenuto pedaling and/or model resonant ringing of undamped strings (or phasing of slightly detuned strings)?<br><br>You can get really lovely sounds out of a grand by undamping a number of notes using sostenuto, not playing those notes, and listening for the resonance after playing others. <br><br>How far do the best piano models go?<br><br>There's no reason you couldn't use other timbres with a model supporting these subtle features. Could be interesting. <br><br>-Dave<br><br></div><br><br><div class="gmail_quote"><div dir="auto">On July 27, 2026 11:02:30 AM PDT, Donald Tillman <don@till.com> wrote:</div><blockquote class="gmail_quote" style="margin: 0pt 0pt 0pt 0.8ex; border-left: 1px solid rgb(204, 204, 204); padding-left: 1ex;">
Harumph, this discussion is getting a little silly. Of course, the answer completely depends on what the synth can do, and what you want to do with it. If you want a piano, you should really get a piano. If you're going to the trouble of building your own poly synth, I'm sure it has some unique and wonderful capabilities.<div><br></div><div>I'll point out that the Rhodes Chroma, arguably the finest poly synth ever, has 16 voices, often split between two timbres, 8 and 8. And that works really, really well. And there was an optional Chroma Expander piggyback unit that doubled the voices.</div><div><br></div><div>And, contradicting what I just said above, the Chroma can do a pretty good piano sound that I have happily used in band performance situations. But that's also due to the weighted wooden keyboard, which I'm guessing isn't what you're doing.</div><div><br></div><div> -- Don</div><div><div><div dir="auto" style="caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration: none; overflow-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;"><div dir="auto" style="overflow-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;"><div style="color: rgb(0, 0, 0); font-family: Menlo; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px;">--<br>Donald Tillman, Palo Alto, California<br>https://till.com</div></div></div>
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<div><br><blockquote type="cite"><div>On Jul 26, 2026, at 11:57 AM, cheater cheater via Synth-diy <synth-diy@synth-diy.org> wrote:</div><br class="Apple-interchange-newline"><div><div>Let's say you're making/buying a polysynth. You can make it 8 or 16<br>voice. It's equally practical to do 8 or 16, it's not larger or<br>bulkier, the 16 voice costs 25% more, it doesn't do multitimbrality,<br>so there's only one sound coming out of it at any time. What do you<br>choose, and why?<br><br>What markup would 16 voice have to be over 8 voice where you'll say<br>it's not worth it anymore? Ranging between 0% and 100%.<br><br>Thanks!</div></div></blockquote></div></div></blockquote></div></body></html>