Does Pianoteq work nicely in Dorico?
Works great here.
Jesper
Purchased. Itâs fabulous.
It works VERY nicely in Dorico. My Go to Piano for many years. I have tried others but keep coming back to Pianoteq.
And supports tunings and microtonals.
Jesper
Iâve been using it in Dorico since version 8 and version 9 is also fine. I have the Steinway, Bösendorfer and Bechstein pianos (yeah, Bechstein collaborated with the Nazis, but itâs still a fine piano). I have used mainly the Steinway D (NY) and Bösendorfer 280 VC for my piano recordings, replacing the otherwise excellent Radical Pianos in the Reason DAW that served me well for many years.
My latest work (just finished today) uses that Bösendorfer with the pedal halfway down for the entire 50 minutes of the piece. I do modify the pianos a little bit, particularly to tone down the pedal up and note up noises as they seem a bit obtrusive given how quiet much of my music is. But you can tweak it to your heartâs content. Or not-the pianos are great, as is.
Two clips from the new work:
Yours or Babbitt? Just asking because of the integral serialism. I have his piano works but not all the scores. Thanks!
Babbitt, bars 32â35 of Partitions (1957). I just happened to have it handy because of a music analysis project Iâm in the midst of, and I know @Andro does lots of rhythmically intricate notation work for colleagues.
(Just for the record, Babbitt is not truly an integral serialist, unlike his European counterparts in the '50sâ'60s, but thatâs a different discussion.)
I bought the Bösendorfer 280VC and the Shigeru Kawai SK-EX, two of my favourite real world instruments. I am delighted. Very excellent sound. Highly tweakable for nuts like me! 
âŠright down to pedal noise, felts, etc.! All that seems to be missing is that annoying person with the candy wrapper in the third row.
Makes sense-I have the score of Post-Partitions (1966), not the 1957 score.
Not to get off-topic, but the first rhythmic row, as such, was probably by Messiaen, although he didnât really use what ended up being called integral serialism. But even in Wikipedia, Babbitt is credited with the first works of integral serialism, and of course Stockhausen, Boulez and others followed. Personally, there are a lot of definitions out there for various things (donât get me started on âpostminimalismâ or âtotalism,â both of which I donât love as terms) and in the end, it doesnât really matter since itâs the sound of a work of music that really is important. Iâve never done âintegral serialism;â my dodecaphonic stuff is confined to pitches and I donât often do it since my music tends to be based on improvisations, although I do play with 12-tone rows at times despite being a âminimalistâ (I prefer my own term of âfocused music,â since itâs hard for me to consider a 2- or 4+ - hour work âminimalâ). Nearly two decades ago I composed a 12-tone double canon for six marimbas that is also minimalist, and a recent work of mine for piano four-hands is entirely 12-tone but also repeats each measure a minimum of 12X:
The recording uses Pianoteq, BTW. I wrote it for a friend of mine who used to be at Curtis and performs piano four-hands with his wife, but they have not yet performed it. Iâm still hoping.
For anyone not having it yet but tempted 
there is a free trial (some notes do not play and it needs to be restarted from time to time.)
There are different purchase tiers, Stage, Standard, Pro, Studio ⊠each allowing 2 or more free pianos after registration. And you purchase more piano models whenever you want/need them.
After install, you can demo any of the pianos. Each single piano purchase has quite a few variations, bright sounding, mellow, etc. of the same piano, so even a couple of pianos can give you a nice range of piano sounds to suit your compositions.
(At least that is what I thought ⊠I always get tempted to buy another! After purchasing the Bechstein, it made me appreciate the real Bechstein I used to play!)
Phil Best has a lot to say about Pianoteq, you can hear him demonstrate and comment on the different piano models, settings etc. This might be useful for non-pianists wanting to choose piano sounds, listening to the nuances he points out with each model.
I have the Bluthner Model 1, which complements the (somewhat battered) 1899 original sitting in my music room. The similarity in sound is uncanny, despite mine being just the boudoir grand.
the basic Pianoteq package is reasonable priced and I have gone through several upgrades, though have not yet looked at v9. However I rarely use Pianoteq in projects simply because the best sampled pianos such the the VSL ones (esp. Vienna Imperial and Fazioli) have more character and realism. Although Pianoteq has improved a good deal in recent versions, itâs still a bit lifeless to me, though easy to play. But of course it works fine in Dorico â thereâs nothing much to go wrong with virtual pianos! And is more programmable than a sampled piano if thatâs important.
My favourite trick to get Pianoteq more lively quickly is the condition slider. Between 0.10 and 0.15 or so does it for me.
Whereâs that?
Jesper
Below the keyboard. Itâs a slider. Right to the left (0), the keyboard is brand new and shining (and so is the intonation). To the right (1), itâs really out of tune and kind of broken.
Thanks Marc.
Jesper