...I am quite familiar with that of which I speak.
I still don't think you do. Obviously, you considered being an employee "madness," which I can concur as an obscure, puny junior federal bureaucrat in Obama's ridiculous and inept administration, fortunately far enough down the foodchain that I'm far away from Washington. But we still eat the BS daily.
Polyphony Digital isn't a group of freewheeling entrepeneurs, they're essentially owned by SONY. Kaz has the freedom to do whatever he wants within reason, but even as a VP of SCEJ I believe, SONY still has a collar around his neck and calls the ultimate shots.
I doubt that you've programmed a piano sound. Not done all the work to sample each and every note at at least three velocity strikes, and gone to the painstaking detail to make sure that the hammer hits the strings at the same impulse of force, and not only that but produces the same timbre as the adjacent strings. Then to take those samples and produce loops which sound as if the string is sustaining with infinite resonance. Then take those looped samples and assign them to the proper keyboard notes in the correct velocity range, and come up with an envelope which makes this infinite sustain sample decay the way an actual piano does, and make it decay quicker up the scale while still sounding natural and decaying at the correct rate. Assign filters to these samples and make them darken the sound with even more envelopes in a way that doesn't make it sound like there's a filter there at all. Then have a classical pianist come play your virtual instrument and tell you it's all wrong and to start over.
I never even went that far. I programmed pianos using all the sampling and assigning done for me, the really hard work. I just fussed with the envelopes, filters and dynamic ranges, and it's a pain in the butt. Even more, this piano doesn't have to fight with physics modeling of a bunch of other pianos, and A.I. routines, and graphic rendering, and whatever else would be involved in a piano based video game.
Look, even Turn 10, FOUR HUNDRED PEOPLE strong, with a MUCH larger audio design team supposedly, couldn't accomplish what you want in a box with similar horsepower in Forza 4. They couldn't get all the cars in a race to have the right sounds, or even the same quality sounds. They couldn't even get stock cars to sound right, though that was evidently by misguided design. Some cars even sound exactly the same from all four driver views.
This is the one game which you really can compare to GT5, and they couldn't do it.
Quick edit because I realized this is the Day One Patch thread, but all that stuff is still quite apropos to the subject. No one has all their work done at release anymore. Almost every game I've bought since 2007 has needed an update when I bought the game. Some of them were surprisingly large. The last three Forzas were updated periodically because of physics flaws and exploits in a supposedly near perfect game. Are developers doing a bazillion things at once to get their games ready by a wrist slitting deadline lazy or dumb or lazy? Have you tried it?
I don't think they are. You can think whatever you want, but in my not not so humble opinion, I think your world and your experience is a universe away from theirs. No, I don't think you're familiar with this at all, or know squat about it.