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Often you can find ways to build in more expression; there are 127 velocities in the MIDI spec, and that might seem like a lot but there's a ton of timbral variation between ppp and mezzo forte. What I like to do is reduce the dynamic range in Addictive Keys so my 127 velocity levels cover only the range between mezzo piano and double forte. Another useful feature is sample shift, which uses pitch-shifted octaves to change the formant of the samples in real time. Shifting up seldom sounds realistic, but downshifting can provide a certain sonority that's great for the dark, cinematic stuff.
Ambience is another critical factor; the mic distance/placement and room sound need to be appropriate to the genre. For instance, in Cuban jazz the standard mic placement is to drop a beat-to-death Unisphere down the top of an upright, hanging it fairly close to the player's left hand and closing the top. By itself, this technique sounds like a$$, but in the midst of horns, strings, congas, timbales, cacici, tumbas, shakers and clave, a really pointy piano sound doesn't hurt. A dead giveaway is having a different reverb on the piano than any other instrument in the mix. Turn off the VSTi's reverb and use a bus reverb for all the instruments, and don't use your sampled instrument's room mics, unless you can closely match the room with the bus reverb. Room mics can best be taken advantage of on solo pieces or very small ensembles where the piano is front and center.
Lastly, EQ and compression can do some heavy lifting or be used subtly and sparingly. Piano has a very wide frequency response and a very tall dynamic range; in a busy mix, you might want to band limit the piano to shoehorn it in; for a solo piece, maybe you'll want to compress to bring out more stringiness, chesty-ness or spank. Just be aware that too little dynamic range can sound plastic-y and fake. You'll want to curb the transients, without eliminating them entirely.
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