[grobgambit]

Anyone who posts that is an obvious idiot that you shouldn't listen to about anything.

Just someone who either has nothing to do with music or does but has an absolutely obnoxious personality that will point out some meaningless detail in the specification.

It is just mind blowing that my 1997 Korg Prophecy and 10 year old Waldorf Blofeld are all linked up to my brand new computer using the latest version of Abelton live with a midi interface that I don't even remember when I got it but its old too.

[emchammer]

I once had the opportunity to use a genuine Steinway full-length grand piano which had been fitted with a MIDI input and actuators. I connected it to the output of a Kurzweil K2500 I believe it was, and I used the arpeggiator and sequencer on that to trigger the grand piano. The Steinway became a different instrument. It was not obvious! It was easy to make it sound like a mishmash.

[piltdownman]

This is why Synthesisers allow you to control the ADSR Envelope - the decay and sustain on a piano, makes its a bit of beast to sit comfortably in a mix or - as you've noted - fairly dissonant and unmusical when played as a keyboard as opposed to a discrete acoustic instrument with its own preferred range of operation in terms of pitch, timbre and dynamics.

The answer? Tailor the use-case to the instrument, as orchestras have done for thousands of years. A trumpet riff won't sound appropriate or evocative played on a xylophone anymore a Cello aria on a French Horn.

A masterclass on this is Wendy Carlos' Opus 'Switched On Bach', whose entire inspiration was to make "appealing music you could really listen to" using the then-new synthesiser technology.

https://en.wikipedia.org/wiki/Switched-On_Bach