For Frankie of Vintaudio and owners of the Upright collection
Would it make sense to record reverb samples of a wall, taken from a players' perspective, with the wall in question being the one the piano sits against, since this wall seems to be a kind of secondary soundboard for a studio piano?
This idea comes from sitting at my parents' studio piano, which is not magnificent, but still has a rich sound, and realizing how much my experience in playing it comes from the sounds coming off the wall. Of course we're always told to put an upright near\not quite against a wall, to project the sound back to the player and the listeners who, in the case of an upright, are often behind the player. (I own and love the Vintaudio uprights, and I understand that they were recorded from the players position, but I don't hear the wall in the sound.)
What I notice, listening to my parents' piano, is how much the wall spreads out the sound--I think that the distance between the player and the wall is wide enough that the vibrations bounce off the wall and spread just enough to seem to surround the player, not as isolated as a sampled note, and not so widely dispersed as a room verb. The notes to the left of the keyboard thus spread both to the left and past the center; notes near middle C spread almost to the end of the piano; notes to the right, spread to the right and to the left, past the center)
Something else that comes to mind: has anyone experimented with different materials for the wall behind an studio piano? (And thus for recording a verb to be convoluted.) The wall behind my parents' piano is just regulation plaster over drywall. What would happen with a thickish sheet of rosewood or cedar, so there's a large equivalent of a guitar soundboard to resonate?
Obviously, I'm still trying to understand what convolved reverbs can do.