I too am very excited about this proudct. I like the idea of having something of even higher quality than the Ivory steinway that I play now.
I would imagine all the delays are due to not being willing to settle for anything less than a product that puts everything else to shame. I'm willing to wait however long that takes, because that's exactly what I want
I am sure this piano will be a major hog on the resources, that's fine.
I already have too many libraries to choose from for ensemble work.
I want this to be my solo piano, so it can take up as much memory as it needs.
I need the real deal to pull off some old style ragtime, Debussey, Chopin, material that requires the real sostenuto style.
On a side note here. I drug out my ancient KX88 and was shocked at the action is perfect still. I haven't played it since 1999 in Atlantic City. Funny how Yamaha made such quality equipment back then. My QX-1, TX816 still work flawlessley as well. These items made me so much money from 1984 till 1999. I currently use an Oberheim MC3000, and a couple of KS88's. There are great for VSTi's, and external analog synths, etc. But I will get a controller based on action only for the GGSG if it does the expected.
Truth of the matter is, that live piano performances go over big these days in Las Vegas. One person, one instrument, and of course being able to bring in some quality symphonic samples of strings, and brass, make it even better.
Is the size of the instrument known? Is this going to be another many gig piano, with the emphasis on getting the sound from the actual samples and with a reduced set of synth parameters similar to those in the Kontakt player or the Synthology piano? (So that the envelopes are hidden or simplified, for example.) I was asking about the new features and parameters partly because I was hoping that the new engine pressed further into programming and gave the user full control of the sound.
It may just be psychological--somehow, when I read about some of the newer, huge pianos, I almost feel the weight of all of those gigabytes of samples. (And I really don't want to buy another hard drive...) So much is being done with modeling, as in Pianoteq, and with coding filters for fewer layers, as in the Tascam CV piano, and some sample-playback engines are so good, that I'm still working myself towards, and hoping other people are working towards, a piano that uses both modeling and the conventional combination of samples and synth technique.