Closer than a Brother

Depth. I could write this word a thousand times, and it captures the essence of the “Brothers in Arms” album by Dire Straights.

Again I caveat, you need to hear this on a really good highly resolving  sound system, no headphones in my humble opinion can do justice to this work of irreplaceable art.

One more masterpiece where the words are not important, for you to enjoy it (it could have been sung in Swahili and you would still enjoy it without limitations) .

Layers of sonic overlay, lathered from front to back of the virtual hall(Z), from left to right(X), from bass to tinkly sparkly percussion(Y), were talking 3 dimensions here, of spectacular sonics laid bare in front of you. The melody is a 4th dimension, harmonies a 5th, lyrics a 6th, arrangement a 7th, and putting it all together its transparency and indelible impact and residue of emotions, is akin to an 8th dimension. It should not be possible – from a stereo source. I never felt the need for a higher definition version, extremely realistic presentation, truly like being in the studio – a cliche but true- the band is right there in front of you.

Whatever audio processing has been applied was done skillfully augmenting rather than taking away, balance, always an easy listen, what an ear test/sonic exploration. Textures ad infinitum, soft , hard, mushy, spiky, subdued, struck, pinched, tension, release, enveloping – 2 speakers felt like I had a surround system, filling the whole space and room with sound, and I could hear every note from anywhere, beyond space, beyond time, effortlessly, like having a magnifying glass.

Unconstrained, like peering through a completely opaque vista, no screens between you and the performers – live, dare I say it, this is better, much better than watching it live, cos you can enjoy this on your own, without an audience interrupting soak in all the sounds.

I had listened to a few tracks, before my mind attempted to consider the genre, but that was now irrelevant – it did not matter, this was art, using a medium to express something very human, a message from one mind to another, not needing an intermediary or translation. And the message was understood, without having to think of meaning, felt not just heard, every thump, snap, growl, pick, and synthesizer zips appearing in Money for Nothing, from beyond momentarily like shooting stars. Really serous about the caveat, on a good system, all these things stand out, not subtle at all, bold, and you wonder, I never heard all these sounds before. Is this really what Soul to Soul means, telepathic communication with the musicians, and the speakers literally disappeared, all I was left with was the music and its impact.

I listened to another album by a leading lady of pop which was released in 2008, and then I understood, this other pop album which was very well received almost sounded like a mono version, in comparison, gone were the highs and lows, and gone were the dimensions, and gone was the meaning.

Brothers in Arms should be compulsory listening for Audio Engineering students – this is how good a finished work of recorded audio can sound, like butter.

Art that conceals the science and engineering within it. No seams. Timeless. Very Satisfying.

Performances and Recordings of Note – One Night Only – Gregory Porter

Every so often I hear things that really standout, in various ways, sometimes in more than one way, e.g emotionally, musically, lyrically, production values, musicianship, tone. And I thought I’d share these here.

Typically these are recordings that made me take notice and I definitely want to hear them again.

Fair warning, some of these recordings need a music system that I would describe as accurate and highly resolving, ideally able to reproduce evenly frequencies down to 40hz, better still 35hz, with ease, and clarity all the way to 20Khz with balance on the top end and pretty accurate in between these extremes. Otherwise the detail is lost. You need this to hear the triangles without obstruction.

The 1st recording that touched me, recently, enough to highlight here, was Gregory Porter’s – One night only live at the Royal Albert Hall – 2018.

Comments: This is not about perfection, as on a highly resolving system, I can hear things that I would have loved to correct in a studio recording, but for a live recording, this album captures the essence of being there, in row 1, sitting right in front of Gregory, pretty much the same distance between us, as the distance between me and the speakers I am listening to.

A recording which you want to turn up, and hear in surround, the limitations of stereo as good as it is are apparent. But that’s the best you can do, a recording that makes you want to hear more.

This is probably the best recording of his voice I have heard, not in its accuracy, but in its authority and clarity. It’s difficult to go back and listen to other things after this.

What I’m trying to say is : this is a keepsake, a beautiful recording, that simply propels you into the virtual Albert Hall, to the limit of your speaker placement.

Very open, life like, very clever use of compression, which is not immediately apparent. IMHO, this is a watermark to compare any other recordings to. This one will test your sound system to the limit, especially in low end clarity… And the audience hand claps are like they are all around you. Superb….

It’s warts and all, some plosives are apparent, but worth the excess to assure capture of that rich deep dark bold masculinity, I think Gregory’s nickname should be the Lion King, cos on this album, he roars majestically , from the speakers, to overwhelm every sense. There is nothing I have ever heard that sounds quit like this. The smoothness of the orchestra, as an enveloping backdrop, to the rasp in his every syllable, periodically explosive, there may never be anything else like it again.

One night only. Very true, I doubt that Gregory himself can repeat this. You can sense the inspiration and elation – it must have been a special day for him also.

This would be even more amazing to hear in 24bit/96Khz…..

It is the most dynamic collection of music I have heard for some time, for the geeks, it had crest factors as high as 13.5 dB. A lot of pop music has a dynamic range – by crest factor of only 6 dB. This one needs turning up the sound system, so you can hear it as intended – life like, but then the voice becomes larger than life. What a performance – one man and an orchestra – absolutely no backing vocals. Awesome..

You can listen to this a million times, and hear something different every time, the 1st time I heard it,  I did not bother with the words, the music was simply so enthralling. Oh and no Auto Tune (pitch correction by a computer algorithm) in this one, you can hear all the inflections, its a man singing. He’s human, enhanced by microphone and audio production technology, to sound flatteringly superhuman on this recording, imperfectly perfect. This is real music. and live – no retakes….

On the songs that I know well from his previous albums, there is no sense of formulaic sameness, each song is fresh, and this applies to his vocal delivery. I must check – did he win a Grammy for this one, cos if he did it was well deserved.

Seriously this sets a new standard… for what modern recording and expert musicianship can achieve.

Good music is definitely not dead. Vintage, Classic, yet rendered with space age sonic authenticity.

1st and 2nd laws of Audio Engineering

The 1st two laws of audio reproduction, mixing, mastering and anything else you do to audio., in a studio, recorded or live performance.

2 quotes from “ardis” on a gearslutz forum thread.

“”Funny no analogue or digital process will “improve” audio quality. Anything you do to sound degrades it. Cracks me up when people use that argument. It actually starts with the performance that you alter and degrade in the first place and goes downhill from there. The magic is actually turning that into a positive.””

“The operative word is “perceived”. Our job is to interpret the performance through the tools we have at hand, to make an alternate reality conform, to what our interpretation of that performance is. Perception literally is reality in sound.”

I’ll add, this also applies to all audio equipment, including playback systems anywhere. It’s all a bit of a pleasurable con, when done right, and explains why a lot of this also has to consider the look and feel of the product or service, perception…, faith…., not reality.



3rd time lucky? – CP88 aftertaste

Another hour with the CP88.

I had noticed something on the most recent review, which I needed to investigate further. It has two stereo analog outs.

  1. A set on 1/4 inch jacks, with the Left also labelled “mono”, implying that if this is the only output plugged in, the piano would sum both channels. This is a feature pretty common on all the Yamaha digital instruments, I have ever used. In many circumstances, especially when playing live, you may have only one channel on the mixer assigned to the keyboard, for convenience, and one of the reasons why this may be acceptable is because most audiences at a live event are listening in mono.
  2. Another set on balanced XLR’s with the Left channel ominously not having any additional labeling, regarding “mono” summing.

Because the balanced XLR’s did not explicitly have any “mono” designation on their Left output channel, it was foolhardy to simply assume that this feature would apply to them also. Solution to my inquiry – test and hear if there was a difference.

I did and true to the omitted “mono” labeling, the balanced XLR Left channel does not sum Left and Right. So Yamaha to their credit labelled this accurately.

What’s the difference? The mono summed 1/4 inch jack left channel has a collapsed depth of field, and sounds tiny, and I no longer enjoyed the sound. My earlier audition had the keyboard connected via one cable to the speaker, on the left XLR channel., and reverting to a balanced XLR connection, after listening to the mono summed version via 1/4 inch jack, I definitely preferred the non-summed sound via XLR.

It would have been great to hear what the right XLR channel, on its own would sound like, solo, but I had already bothered the store attendant more than probably anyone else reviewing this keyboard over two session, that I felt reticent to ask for more.

I could write a whole piece about auditioning pianos in a store, digital in particular

This really changes things….., and as much as I gave the Yamaha a glowing recommendation, in this configuration, via mono summed 1/4 inch left output only connected, this is not a piano sound I would recommend.

The other thing that nagged me was this unshakable impression of stumpyness, a heavy footedness in the piano sounds especially the acoustic,  where you had to really make an effort to play delicately, a bit more so than on a Yamaha CP33 stage piano, which I play most days, and am pretty familiar with. So the CP88 does the forte well, but no piano (soft)…the lower velocities having not been sampled very well…., especially on the acoustic pianos.

The Utube video at the link or image below, sheds light on this challenge of digital pianos. I do find that the more expensive hybrid Yamaha pianos do a better job of this dynamic range, however playing them is not as even handed in touch as pianos like the CP88, which are so well regulated. I guess it takes a lot of money to regulate the more expensive actions perfectly, cos there is so much more physics and components to get right.

So it really depends on what kind of music you make, and how much you want in one keyboard. Not too sure if the default sound on the CP88 would do classical very well (not that that is my genre). While most of my review to date has been to hear what the basic pianos in each category sound like, especially without all the effects, to hear the pure sound as much as possible, well I kinda left the reverb on – it was not distractive and in the default setting adds just a bit of effective realism to all the sounds, otherwise everything sounds too close miked. Distractive – is that a real word in the English language??

The third category of the CP88 sounds, with acoustic and electronic being the 1st two broad categories, which are all individually layerrable, has accompaniment sounds like strings, pads, organs, and let’s say I was underwhelmed, Yamaha should not have bothered. If you want lush strings, look elsewhere… what I heard in this category is unmissable.

So if looking for a recent single stage piano, in hardware form, keys and sound engine on one device, the current alternatives would be :

  1. Nord Stage 3
  2. Nord Piano 4
  3. Nord Grand (soon to be released – which bumps up the piano memory from the 1GB on the Nord Piano 4 to 2GB, and replaces a Fatar action with one from Kawai)
  4. Roland RD2000
  5. Korg Grandstage
  6. Korg Kronos
  7. A used Yamaha Motif XF, XS or S90ES
  8. A used Roland RD800 or RD700NX.
  9. A used Yamaha CP33 or new/used Yamaha CP300 (Yes this 9+ year old keyboard can still be bought new, and has great sounds – Yamaha still makes them…new)

A little research indicates that the Nords also have a challenge with the difference in the sound of mono and stereo, in their case having a dedicated mono button, but I have it on good advice that similar to my experience with the Yamaha, some prefer to avoid using it., and make do with the subordinate sound of one half of the stereo pair, in circumstances where only one channel is amplified, or recorded.

I have not tried the comparison of the RD2000, in stereo/mono, so cannot say.

Why bother with all this minutiae? Partly because a lot of the demos one hears of these instruments, on Utube, are in stereo, and if you think this is what you will hear on a live stage connected with just one audio channel active, think again.

This challenge is as old as the invention of stereo capable digital pianos, and I am a bit surprised to find out that it is still a major issue, if you are picky about your piano sounds. And I think you have to be, if you wish to be as emotionally authentic, and/or give value to your paying or non paying audience. If the experience of listening to you play is or should be an important one, then you want to get it as good as possible.

While the samples may not be as pristine and accurate, it was comforting to discover a more satisfactory resolution of this stereo summing issue, when I got back later in the day to play the CP33, which IMHO, has a more balanced resolution of the dynamic (forte/piano) challenge, and it’s mono sound when using only the Left 1/4 inch jack output, is acceptable….

I am tempted to have one more go, to review what are known as Yamaha’s Live sets, which are combinations of the three main sound categories, kind of like their master programming of production ready sounds which you can use without having to tweak yourself, i.e part of what you pay for is Yamaha’s expertise at creating combi sounds, something they should be good at – should – from their EX5, Motif and Montage pedigree. But that assumption, like everything else needs to be verified.

The video at this link gives an example of the end user having to tweak a Roland RD2000 piano sound to provide something more suitable for classical music.

So this is something to consider, do you want to become a piano engineer, or want to focus on creating music, practice, and performance and composition. In the old days of synthesizers, you had programmers whose job was to create great sounds, and got paid for it, the most successful being Eric Persing of Spectrasonics/Roland fame. So when you got a keyboard it came with great sounds. It’s part of what you paid for.

So only you can determine if the sounds of a specific keyboard work for you or not. And the more I look at things, the dream of having a single keyboard from Nord, Yamaha, Roland, Kawai, which has ALL of the following features is slim, based on their current or announced offerings.

  1. Great keyboard action
  2. Excellent piano sounds – acoustic, electric.
  3. Very good other sounds, organ, etc
  4. Solves the mono issue.
  5. Comes with great patches in the box, so tweaking is a bonus
  6. Has some easy to use tweakability, which allows you to tailor and examine options, to create your own sound over time, but out of the box you do not have to do this, cos there are a good number of sounds close enough to what you have in mind.
  7. Durability.
  8. Of course not too heavy to take to the gig.

The ultimate solution, may be a two keyboard rig, one weighted keys for pianos action, and another like one of the Nord Electros for other sounds.

A good example of this is here. In conclusion it is not likely to be inexpensive. Or like him you rent as needed. Note all the videos are in stereo, so not sure how they will sound on stage..!! in mono… At this time, the Nord’s get the nod for an all in one that comes closest to the wish list above. – but do beware – that Fatar action has never been the most reliable, but I guess with gigging pianists in some parts of the world, not their problem, they only have to rent the item, and its someone else’s headache when the keys fail.


Hope never fails


What a comeback. Congratulations – Tiger.. Augusta National 2019 – 5th Masters win.

I vividly recall my wife predicted, he’d be back on top.

What a smile. Encourages all of us.

Our best is still there and the future is worth the anticipation.

Yamaha CP88 – The 2nd coming of a 5* stage piano

I gave this stage piano a 2nd audition. And in my most honest opinion this is a keeper – it gets 5 stars from me.

Playback was via a Neo Acoustic LA10 speaker, this is an in-house brand of Dawsons, at the time of this writing – £349, one of those column speakers on a stick, with a subwoofer as the bass and base. As I played the piano in a sitting position, the speaker extension column was removed so that the section containing tweeters and midrange speakers was lowered to just above the base/bass, and closer to my ear height – just below.

If I may add, playback is such an important aspect of any electronic instrument. Not that I advocate their purchase, but many of the budget keyboards like the Yamaha P45 sound definitely better when played through other speakers instead of the tiny little speakers on the keyboard, which do no justice to the sounds on any keyboard. I strongly advocate that one needs a speaker with a woofer of at least 10 inches (if using a PA speaker) or at least 6 inches (if using a studio monitor), to really hear what the instrument sounds like, and this makes a huge difference to appreciating its sound.

With that out out of the way, I adjusted my seat, positioned the tweeter column angled towards me, and the audition began.

As the piano had been switched on in the store, next thing was to sort out the volume, ensure there that all the bass, and treble controls on the speakers and on the keyboard were set to flat.

What can I say?, about 80 minutes of non-stop playing ensued, and this is one of those keyboards, that has earned the kind of reverence I had for the Roland LX-17 and Roland LX-15 pianos. Three words, satiety, clarity, punch. This is one keyboard that deserves the very best of speaker amplification, it is worth every extra penny you spend on amplifying it optimally. I am pretty convinced that some of the advantage of the Roland LX-17, Roland LX-15 and the Yamaha-CLP 585 and 685 are their higher quality speakers.

By default, certain features are turned on such as damper resonance (most likely also related to a similar feature on software based samples of pianos – aka sympathetic resonance), and a bit of reverb also turned on. It’s very easy to turn these off as the CP88 provides a good number of controls without having to dig into menus.

Unlike the Roland RD’s which attempt to assuage you with lots of sounds, a lot of which is simply several different variations on the same theme – you find this approach on instruments like the Roland Fantom, lots of patches all sounding almost the same, based on the same fundamental piano samples…, the CP88 taks the less is more approach, 2 or three different main pianos is each category – Acoustic Grand, Uprights, CP (which is sampled from the original Yamaha CP80), and similar in the section for electroacoustic instruments emulating Rhodes, Clavinets, Wurlutzers and includes a DX7 electric piano sample. Rather than lots of variations of each, you get just a few typically no more than 3 or 4, and you can use the controls that are easily within reach, to tweak the sound to taste

Of any keyboard I have ever used, this was more like sitting at an instrument like the old Rhodes piano, and being able to tweak to taste with controls right in front of you. Add or reduce reverb, compression, chorus, wah-wah, and more, and the real highlight for me was the EQ, very effective, albeit I would say, I have spend far more time than I dare to admit, using EQ’s as a mixing engineer, and also adjusting eqs for pianos in a mix, so this comes more naturally to me, if I hear a sound, I know exactly what frequency and what filters to change to get me the sound I desire. So for me – the Yamaha EQ section is a big plus. With a few turns you can dial in pretty much most of the sound you want, on any piano.

So each default piano patch is only a starting point. Its easy with a few quick turns to take it much further in the direction of your intentions. With this and the volume knob, I could do 80% of whatever I wanted and that’s never happened on any digital piano – never…, and I can achieve all of this in about 10 seconds, max, on any patch….

Now to the CP88 sound, this applies to all the sounds, bold, clean, very clean, in your face, a bit bright, stark naked, warts and all, hanging it all out there in full view. Yamaha have taken a huge risk to create an instrument that is very revealing of their original samples. This is the new Yamaha sound to define a whole new world of gigging professionals. This is an instrument that does not rely on effects to cover up shortcomings. Shockingly I was very satisfied with using the sounds – plain, turning off ALL the effects on each sound, relying only on EQ to take the sound where I wanted it to go, for a particular piece of music, darker, brighter, all done with ease – and no modulation or time based effects… The sounds stand up to the utmost scrutiny – very well sampled.

At the heart of this instrument is honesty like I have never heard in a digital instrument, you may not like some of its sounds, cos this is about presenting Yamaha’s vision of piano, in digital form. You may not like the sound of the Yamaha and Bosendorfer, acoustic pianos, in their default presentation, but with some tweaks of the eq, they will take you at least 70% of the way towards most of the sound you want to hear. Yes you will probably need to adjust your chords and polyphony and inversions to suit this instrument, but I daresay, this is a keyboard that will make you a much better pianist, and I explain.

On one end of the digital emulative piano are instruments like the Korg M1, and the Motif or Fantom and the Korg Triton/Trinity, whose pianos are obviously not as authentic as the real thing, with a sound that has lots of harmonics, rich and luscious in comparison to a real piano, for pop music with minimal polyphony (fewer notes in a chord) and minimal playing, you get a fully featured result. On these instruments you are not encouraged to attempt any complex classical music, they would sound like garbage, cos too much would be going on.

The CP88 is the other extreme, pared back, not too much harmonics on each note, with very strong fundamentals, so there is no hiding place, but you have all 88 notes to create the richness you need, so hammer away, all fingers blazing, create any chord your fingers can get away with, and every single note will ring out distinctly, without any smearing. This keyboard looks at you and says – is that all you’ve got, it will take any level of complex playing, deliver all the notes with aplomb, and stare back at you without breaking a sweat. You will need to up your game on this keyboard, no two fingered chords will do here….In simple terms this is a keyboard for the pianist who can play, it will force anyone to play better and improve. It’s the closest to a high quality concert level piano in portable digital form, allowing you to perform at that level if you have the ability.

The black keys – now this is special, rather than gloss or matt, they look like some kind of wood with a grain (may be plastic but I’d have to check), which has friction, surprisingly no one else seems to have highlighted this unique feature. So the black keys are the most non slippery I have ever come across, and they look cool. Unfortunately there’s no way to see this in any of the publicity photos, you have to audition the keys in person, to see for yourself.

After a few minutes of acclimatization, the keybed is one of the best I have ever laid hands on, very, very fast response, weighted but not too heavy, not tiring, you can play anything on this keyboard if you have the chops. Very even response on every key, – its got wood in the white keys for sure, a very high quality keybed, that is a joy to play.

Overall the keyboard is a professional instrument, big, bold, but not as bulky as the Roland RD2000, a good balance between having no controls like on the Yamaha CP4, and having too many controls and blinking lights and sliders, like on the Nord Stage 3, Nord Piano 4 and the RD2000 (which could be good for lighting Xmas trees – lots of lights), once you’ve tweaked the few controls you need, the vista in front of you is relatively uncluttered and you can be on your merry way focusing on the music, no light houses like the Yamaha Montage !!. The black is demure, and invisible. I can imagine though it should not take too much to get someone with the competency to change the color to something more individual – if I was a gigging pianist, or a major label artist, I’d have mine in color bands like what Elton John might have had commissioned.

As you dig into the higher velocities, this keyboard opens up, on any of the instruments, acoustic pianos, electric pianos, whatever, and more so than the authenticity of emulation, is this aspect – it behaves like an instrument, not the instrument that was sampled, but this new incarnation of the original, at your service, to deliver a performance that translates a human emotion. Now that’s what an instrument does – convey something from the ethereal and make it plain for others to see and hear – the CP88 does this more effortlessly than any other digital portable piano, to date. Does it have its own signature – yes, but in a way this is also good, it does not sound like any other instrument, and each time you play it, you can make it distinctly your own instrument, by the settings you prefer and the way you play. Rather than impose its signature on your sound, you are in control of the wheel to steer the CP88 where you want to go, with your tweaks and your fingers, and feet at the pedals.

It oozes confidence, looks like a keyboard that will wear well, and be in use in 30+ years from now and still be in contention with any keyboard of the future, no matter how good future keyboards become. Very, Very well built metal casing. You know you are playing one of the best, electronic instruments ever made.

I own a Yamaha CP33 stage piano, and get a lot of joy from it. While I was not pleased with the more recent stage pianos from Yamaha like the CP1(too expensive), CP4 (samples not very good sounding), the CP88 restores Yamaha’s leadership of portable digital keyboards, if piano is your main instrument. It may not excel at other sounds – pads, strings, etc, but what it does it does very very well. I think for an instrument with the clarity of what I have heard, that does not need any hiding place, a keyboard that looks like you will never need to replace it, and a musical instrument that may outlive you, it’s worth every penny – if you can play it – not a keyboard for beginners, but any beginner on this piano will soon become a piano giant, with consistent practice, it will force you to get better, cos it can take anything you throw at it without breaking a sweat.

If you need a good portable piano, this is the one to get, that you will never ever be ashamed of, no matter what else comes in the future, or whatever anyone else owns.

I won’t bore you with feature lists, you can find that elsewhere on the web and on Yamaha’s site, but I do hope I’ve been able to convey the heart and soul and feel of this INSTRUMENT, that translates human emotions very well, with very little coloration of your intentions, if any.

It is not the keyboard to end your need for other keyboards, but the keyboard to form the firmest foundation, of what is available today, of highly expressive tones to build your songs, encourage you to practice, guaranty your confidence at any rehearsal, bathe your audience in delight, afford your recordings a level of unashamed clarity that will stand the test of time…, and not break your back when you need to move it.

Whatever you do check with Yamaha about getting a good case for it. This is a keeper that you want to preserve in pristine condition, forever. I am certain this will be a classic…Get one while you can. My concern is that Yamaha may with its success add features to a new model and discontinue it too soon, the CP88 however reminds me of the Yamaha CP300 the godfather of stage pianos, another classic, that at the last check, is still in production well over 7 years after it was released… This must be the CP300 reincarnate.

Excellent Related Piano Sites

I thought it good when I discover really relevant other sites which amplify some of the review I have attempted to establish on my site, of piano and music.

The 1st of them is the Youtube channel of Ben Allen – really just an amazing musical and technically proficient individual. Dare say the best keyboard comparison site on Youtube, by a long mile… The quality of his videos is outstanding, and his delivery is IMHO measured and objective.

Yamaha CP88 Stage Piano (Portable! Digital)

This is their stage piano released in early 2019.

1st impressions from listening to Youtube demos, and some time spent playing one through a Yamaha DXR8 PA Speaker/Monitor.

Decently sampled. Best samples of any current stage piano. if you like the sound of the instruments sampled.

A new modern and bright sound (not too sure how much the DXR 8 contributed to the impression of brightness). I think in general the challenge with a lot of audio is the quality of playback however good the samples/programming.

My personal thoughts – many revered speakers, when I hear them, leave a lot to be desired. I did check to ensure that there were no EQ contours on the DXR8 modifying the sound. I do wish I could review this keyboard in my studio.

Acoustic. Direct. In your face, close miked – which is great, definitely preferred to the previous model the CP4 which sounded a bit indistinct and distant. It’s easier to add room sound than attempt to expunge it, from a sample.. The initial patches veer abit too much in the stark presentation of clinical samples, but these need some life, added to them to make them into real instruments, coupling with the air and complementary reflections.

Definitely a great idea – having the one function per control layout, without having to dig into a menu for most things (like their CP1 and CP4). So much more approachable.

A bit scared that the vintage looking rocker switches, for turning on/off each of the three sections (acoustic piano, electric piano, and other sounds) with little metal sticks, poking up from the keyboard front panel, may get damaged in transit – pretty rare to see such switches in modern keyboards../audio kit. Definitely makes them look unique. Retro.

OK Keyboard/Keybed. Hitting the higher velocities on many a Yamaha Keyboard does require some heft/welly/downforce.. and sometimes I wonder – is this a character of the Yamaha acoustic grands – not sure, it does take a bit of getting used to. I think with this keyboard I must admit there is a Yamaha keybed approach which has a thunk at the end of its travel, in comparison to the Roland keybed which has a bit of a bounce at the end of its travel. We are spoiled for choice, and have the luxury to bicker about these variations….I recall the days of lusting after a Yamaha PSR with mini keys which probably had only 4 octaves, and even that was pretty unaffordable…

As sampled, I would have loved a bit more difference in tone between the softest and loudest piano tones on the core CFX patch.. making this patch more multipurpose, a single piano that you could pretty much use for anything. The CFX tone seems a bit skewed towards classical repertoire, and the bright forte end of this spectrum, not my forte.

Sadly it did not take my breath away, and transport me to another world, the beautiful samples kept me rooted in a reality – here and now.

And then it begs the question – why music? I think a lot of music (voices, sounds, melodies, progressions) takes us into another place, away from every day reality. Pretty sure that with some effort one could program as much modulation as needed, using the provided effects, (and or external effects) to take the piano sounds into sonic nirvana land. I recall the 1st time I ever heard a DX7 played live.that electric piano variant…That is what a superb instrument should do, open the door to a new world…

In contrast – the programming on older keyboards like the Motif derived MOX8, have some of this escapism programmed into the DNA of their patches(via a combination of the samples and effects). I recall being able with very little polyphony (fewer fingered chords) to make a joyful evocative sound on the MOX8.

In contrast – there’s a wonderful electric piano patch on the Roland RD2000 which takes you into this other world and until you’ve had your fill and drunk from its excesses, you are imprisoned by its magic, and by the memory thereafter – Just for this one patch the RD2000 is worth it, especially as this sound is so unique – and unobtainable on any other keyboard.

Sadly my 1st encounter with the Yamaha CP88, played back via a Yamaha DXR 8, did not endear it to me as a prime candidate for my daily use. Great sounds, but they did not add up to a superb instrument that captivated me enough to play it for hours…- Something that the Roland LX-17 does…with ease. And which the previous Roland LX-15 oozed with an even grander darker envelope of immersive sound. The LX-15 and LX-17, I could sit and play for hours….with ease and undivided attention.

Digital pianos are definitely getting brighter, the new Roland LX-708 was way too bright, and most of its pianos disappointing, which I auditioned on the same day as the Yamaha CP88… Seriously – who is behind product design in these global businesses – do they actually play piano or love the piano? Value wise, the ROland LX-708 is not great and has only one decent acoustic piano sound, which itself is already a bit too bright, and the other pianos excruciatingly even brighter still…

A challenge with instruments such as the CP88, which need external amplification, with each different speaker you get a new version of the sound, so your impression depends on what you are listening through. What a wonderful idea it would be if Yamaha also designed a very specific monitor for this keyboard, through which you could hear it 100% as intended…removing some of the variability of the sonics.

Part of the challenge is the quality of really well sampled alternatives in software from the likes of Spectrasonics, Vilabs, Synthogy, Production Voices, and others, which subjectively or objectively take sonics to another level in both reality and evocative response, with even greater tweakability and unlimited options for enhancing the sound all in the box, using in-built effects or external plugins. And then there are the various CFX samples by Vienna Symphonic Library, Native Instruments, and Garrittan.

Even with real acoustic pianos of the same model, they do not sound the same. So its now a question of which CFX sample do I like the most – CFX by Yamaha’s or CFX by another sampled product manufacturer?

Is this a consequence of product design by committee, consensus, surveys, obtaining feedback from dealer networks, without speaking to the musicians and aspiring musicians who want to be enthralled by the sound and touch and looks? The Yamaha CP88 ticks all the boxes, yet the sound did not tug at my heartstrings…

Because it’s a Yamaha – another audition is on the cards. We’ll see.

“Musical” Instruments – Pianos 2018

It’s been a journey, discovering music, deciding I needed to invest time and energy to solve the mystery – how is music made, and being able to make it myself.

On this blog, I have posted articles about my review of musical instruments – digital pianos in particular.

Why? I like to consider recorded or live music as the culmination and in my scenario – an acoustic piano is difficult to justify – space for one, being able to mic it up, and getting to choose one, maintain it regularly – and after all that effort I get only one piano sound – the one I bought, which is unlikely to be suitable for all the kinds of music I may wish to record – oh yes to record it properly I will need expensive microphones.

So the closest alternative has been the dream of electronically generated piano sounds. Hitherto my favorite digital piano of the non-portable kind has been the Roland LX-17 and I do not think this opinion has changed.

Unfortunately the piano I considered as a possible runner up, the Yamaha CLP 685 – the king of this line of Yamaha’s castle, has been knocked off the pedestal. I auditioned one yesterday and it finally hit me – the problem is not the piano, it is the original instrument that was sampled that does not gel with me – that CFX sound – does not – to me – say piano, Nice try Yamaha  – nice experiment, but I do not like the CFX sound – when I hear all incarnations of the sampled CFX – there is something in it that draws attention to a thinness – plinky almost like a harpsichord/harp sound – lacking the solidity and girth. Like a piano trying too hard to be one.

With all due respect – and in spite of my love for all things Yamaha, my personal opinion, the CFX sound is an acquired taste that does not get my approval, I also discovered that the action on the CLP 685 is odd – too hard in the default setting – too much finger pressure needed – and I play a Yamaha CP33 stage piano, which already has a fair bit of weighting – typically more than most digital pianos, so for the CLP 685 to occupy the weightier end of the spectrum – was uncanny – it was quite uncomfortable and tiring to play.

I think Yamaha should go back to the drawing board – this CFX tone “is not working for me” as my compatriots from the Gold Coast would say, and no matter how much publicity, marketing and spin, they need a new sound that does not completely attempt to be novel, and miss the mark like the CFX. My thoughts, the CFX tries to be everything to everyone ( abit of Yamaha abit of Digital, abit of Steinway, some bit of Kawai, and a dose of Bosendorfer) and ends up becoming nothing to anyone. Compromise here not being a good strategy. I have yet to audition the CP88/73 and this may change my mind about the CFX sound.. It is possible that the sampling sessions for the CLP 685 are the root cause of my aversion.

Not saying that the CLP 685 will not sell in large numbers – it will – as it has the brand – Yamaha, and a lot of these pianos are bought as furniture pieces (status symbols) anyway, so for that purpose the sound is irrelevant.

Which leads me to inspiration – I auditioned some Roland piano instruments – the RD2000 – which has lovely electric pianos, but can’t think – what did they have in mind – their acoustic pianos are a struggle to listen to – not good at all. The FP90, and less so the FP30 – but the Rolands felt like instruments – i.e. expressive – the instrument and you were one – they do have very nice keyboard action – these Rolands – you forget about the keyboard cos it feels absolutely intuitive, with the right amount of weight/resistance – play anything – fast – slow, ultra fast – it just is remarkably responsive. And their sound has dynamics like a proper instrument – you can dig in for emphasis and hear the tone change to heighten the note (more harmonics), much better expressiveness – even though the tone is clearly not as authentic as some other pianos. i.e it may not sound like a piano 100%, but sitting down to play it feels like a piano  – what a contradiction, but this causes you to play it like a piano and it sounds like one – an instrument for conveying expression, effortlessly. As much as Rolands may not have the most authentic tone, they have surprisingly now become my recommendation for musicianship – with the best expressiveness in their stage pianos and digital pianos like the LX-17 and the RD2000. Especially on a live stage – what you need is feel and they definitely win on feeling – in touch and sound response to touch. – If you want a hardware keyboard with sound generated outside a general purpose computer like a Mac or PC.

EDIT: If you are reading this anytime in 2019 and beyond – with respect to stage pianos, I think Yamaha are back in the game with their CP88/73 which I have not auditioned yet, at the time of this writing – March 2019, but are definitely worth considering. From demos I think they nailed it on both the acoustic side and electric pianos. Overall better sounding than the Roland RD2000 (IMHO). The pads and strings and organs on the CP88/73 are their weak points – you most likely will need another keyboard to cover these emulations at a higher standard….., for live performance…. I think after so many years, the promise of a single keyboard you can take to the stage and aptly cover a variety of emulated sounds is futile, there are no masters of everything. None. Each stage piano has their own strengths.

Love yourself

Part 1

The following response was triggered by on online post which discussed depression amongst musicians.

My view : Depression, whether medical, mental, social has received increased attention in recent times as a condition that needs attention and various health/social professionals propose solutions – identifying it, and hoping to solve it. I’m adding mine to the pot.

By its very self description, depression is some kind of gap between where we are and where we would like to be, or where society thinks we should be. A gap between expectations and reality. A place in life where fulfillment is absent. Something is missing and it is almost impossible to figure out why.

Once upon a time, where I live, it was good enough to just have a car, any car, as long as it was serviceable. But now we aspire to much more – with German or German owned manufacturers and Japanese brands being the preferred choices, for very good reasons, but must it be a BMW or Mercedes? Is it because we really need one or cos you also need to show it off to others, to increase our own sense of worth. Symbols of status and upward mobility. Have we increasingly veered into a world where worth is determined more by other’s opinions of us, than what we really think of ourselves? How much of our time and energy is expended to please others, hoping that some of this expressed effort will be reciprocated by their praise or enhanced attention to us?

My deux cents. In summary a focus on unseen personal private success has been subsumed by an externally focused effort to achieve public success – to be seen to succeed becoming the priority – a focus on external appreciation that is an unsustainable energy sap – which erodes and depletes rather than refreshes.

Every person benefits from acknowledgement, affirmation and acceptance, having their opinions understood and accepted, and being able to achieve some of their hearts desires, and of course living in some measure of comfort/quality of life.

The challenge with these aspirations in today’s world is establishing a realistic personal set of goals for these targets. Why? – society’s benchmarks for these targets is such a moving target. If we tie ourselves to these moving targets usually brought on by the success of others, it drives us continually from our core – who we really are and want to be, to a place where we are no longer ourselves but try to be like everybody else – Elton John, Steve Jobs, Prince Harry, Ed Sheeran, Usain Bolt, Slash, or whomever else our heroes are.

It is good to be accepted, however it should also be ok to think differently, sometimes so differently like certain scientists and artist whose work was only understood or appreciate long after they had died. In other words how much of our own acceptance must depend on being accepted by others. It’s wonderful if this happens but so much of who we are, and know, and have, or can be, will never be seen, heard of, understood by others, and it is increasingly important to rest in this quiet acknowledgement of who we are, without seeking external validation. A very significant component of acceptance must come from within.

This is the fundamental heart of depression – a gap between where we are and where we would like to be. Sometimes also including a realisation that the world is demanding you to be something that you are not, or are looking for skills and attributes which you do not have and this gap creates a disjoint. The final aspect of depression is discovering that people(and things) are not all that they claim to be, when promises are broken, by us or by others.

I give a small example – discovering that so many products and services are “sold” as having extra features that have absolutely no benefit and it is not worth paying extra for them, or the truth is tucked away in fine print. Throughout life, we discover that people are almost certainly not all that they claim to be, and this includes ourselves, as we all without exception portray or expose only a subset of the real person, also known as being civilised or cultured, masking the truth behind our choice of masks – cosmetics, clothes, accents, mannerisms, affectations that portray us in one way or another as we would prefer to be seen, this includes our public lifestyle.

Negative peer influence – doing things to be appreciated by others, is very exhausting.

We are not helped by the mainstream media and social media where a relatively small number of reviewers and presenters and icons drive so much of the opinion/focus across very large swathes of our human experience – e.g Simon Cowell – I appreciate what he has achieved and love him- great man, but in many respects, every budding “producer/music executive” sets their sights on such large end results like Simon Cowell, without fully grasping that Simon has had 20+ years of honing his success – following a unique path that he created for himself – before Simon Cowell, there was no other person who created similar success in the same way as he has done. This is the same with every other person we look up to as ideal or the pinnacle of our chosen area of improvement – We cannot follow in the footsteps of any other, we must create our own path, to that which will fulfil us, and which we are perfectly comfortable with.

The only success that society is increasingly predisposed to acknowledge is the kind that is very public, global in nature – industry awards, in-company awards – best employee of the month or year, Oscars, Grammys, Gold medals – no one remembers the silver and bronze winners,  Nobel prizes, Queens honors lists, etc. In all of these someone else is responsible for our acknowledgement. Even where these honors are well deserved and well earned, we still need others to say well done to us! What if they never do?. There is also an overt competitiveness that can be somewhat disconcerting – the ones who lose out on the top award, which the majority of contenders – feel like a bit of a loser. It’s pretty much like a lottery – the public reward mechanism has most participants becoming losers…. Must we not rethink this assumed human societal norm of external praise, to rather teach people to appreciate themselves and not just wait to be appreciated or recognised. I dare to add – money and wealth have become such a significant sign of public acknowledgement of our value, and retaining it consumes our energies.

What is the remedy – establishing realistic goals that fit in with who you really are, to succeed in the things that really make you happy and do not need anyone else to acknowledge you – doing and being things that give you a sense of achievement for yourself – a sense of your own worth each day – that does not need anyone else to appreciate or know about it. It starts with enjoying the simple things – sleep, fresh air, being alive, being relatively fit and healthy and mobile – you do not have to be or look like Arnold the former governor of California, having a decent meal each day, enjoying your abode however small or humble, recognising that greatness starts with very small but consistent steps, and much greatness, like an iceberg, is submerged – rarely seen by others.

We need a recalibration from this overwhelmingly public notion of success acknowledgment, which is also fuelled unconsciously by our window into social media, where everyone else posts only their successes but much of the truth is hidden away and we never really know the people we interact with virtually – only the “clean” images they portray of themselves – ramping up a desire in us to match what we see or hear which may all be contrived – like an act for the camera/audience…

Society, including our immediate social network, sets so many of our targets – we want a new toy or piece of gear, cos someone else has one, same with a dog, car, house, wife, children, a particular job/professional achievements. So much advertising by those who profit from selling us or enabling these “assets”. No harm in wanting these things for yourself if that really is what fulfils you and not because we want to impress anyone else with these achievements – but we really need to think through what we really want, to be certain that upon achieving these things – they have real value, and are not a mirage of disappointment, which for example is why many marriages end – unfulfilled expectations.

Our ambitions should be for things that really make us happy – even when no one else is aware of their achievement.

Surprisingly – when you start to fully love yourself, accept yourself, value yourself no matter how undervalued others may have thought of you, this assurance becomes infectious and others will begin to value you the more. But we must never revert to seeking external affirmation – it is only a bonus, we must not depend on it. May I add that this applies to all relationships including the closest ones – family, wife, children, friends, co-workers, where sometimes appreciation of who you are could still surprisingly be quite lacking, cos they really do not know (or care that much about) who you really are, or hope to be – shocking but true.

Avoid the temptation to expend too much charity on others, which leaves you drained with very little in reserve for yourself, else everyone will happily take advantage of your generosity and as you will discover, rarely give back.

For me, at the heart of all of the above is a foundation in a personal lifelong relationship with Jesus Christ, which in its purest form, gives you a confidence that is beyond whatever affirmation society can provide to you, and beyond any negative self images that society may have inadvertently hung on you, from their uninformed opinions of you. Society(including much of what we call the church or religion today) will fail you, but the confidence that Jesus gives does not fail.

We also live in this interesting world where “feedback” from others needs to be taken with caution, cos the intentions of some of this feedback may not be as altruistic or genuine as they appear. Whatever our situation in life, including our mistakes, we need a very positive image and knowledge of ourselves to have the confidence to take each next step to our own personal joy. We must balance what others say of us with the truth we know of ourselves, a truth which we create each day by our thoughts, conclusions and actions to develop who we are, in the direction we wish to be fulfilled in.

Ultimately a life where we can achieve complete personal joy, with absolutely no need to depend on others to acknowledge us, cos we already have confidence in God’s acknowledgement of who we are, and we also acknowledge that we are valued, is success indeed. The world can never know who you really are – not even your closest friends and family know all that you are – but you do, and God does.

Loving others is wonderful but not at the expense of loving yourself, which is the prerequisite. It is only when you know and love yourself fully and have taken care of your own needs, that you can truly love others.

As I consider it, there is something especially important in the bible account where God explicitly acknowledges Jesus as one in whom He is well pleased. What is our desire, to please man – who will never be pleased – their pleasure is transient, or to please God who demands very little really, in comparison to the insatiable demands of man, and in God’s case he provides us with all we need to fulfil His demands, as he did for Abraham.

By pleasing God I also refer to that inner conscience of right or wrong, when we do those things that are right, not because of any reward, or public praise, not even because we seek a reward from God, but do the right things because that’s the best thing to do, not just to please God, but also to please ourselves, because we know the truth.

This is contentment indeed, the antidote to depression, living for yourself and God, not according to the dictates of others. If others join you on this journey great, and even where you are the only one living this way, you are content in being alone in living right. Content with yourself under all circumstances, secure in the knowledge that God is aware of your situation at all times and He has your best interest at heart.

For the musically gifted, including those who may only listen and not play or sing, this ability in itself, whether it becomes a commercial benefit or not, is an important acknowledgement that we are loved by God, to have been given our own unique perspective on creativity, which starts with something we were naturally predisposed to, by a God who made the air to convey sound, the ear and brain to hear, our bodies to play, and other people to collaborate with, and who gives us inspiration and musical ideas to experiment with. This in itself is evidence that we are already loved by God, who provided these blessings, and we should love ourselves, the more, even if we are the only audience of our music, we still therefore have a lot of value – to God, so let’s make the best of it, as time and opportunity affords. Let’s have fun with music – lots of laughs, joy, surprise, exploration, discovery – depression has absolutely no place with these benefits of good music.

Part 2 – Edit 30th Nov 2017

A further related comment on social media, where I shared the following points required me to add these here, cos the topic is the same, rather than me posting another blog item.

Jon Sine(who posted the original video on youtube), your summary is excellent, like many professions, football, music, art, even in business, most of the money(and power/influence/attention over other people) is made by just a few people – that is the way of society, and nothing will ever change that. It is the result of a feature of human psychology, we cannot keep up with too many heroes, so the few that catch our attention retain it for a very long time – i.e. they become a trusted brand, we cannot keep up in our memory with too many of these in any area of life.

Musicians must set realistic targets, their music may never be appreciated and valued in monetary terms by many people, this is a risk and a possibility, and it does not mean it is not good, just means that there are so many others competing for attention, it is somewhat like a lottery.

Except for those like Michael Jackson, Prince, Beyonce, Elton John, Chick Corea, Wynton Marsalis, Herbie Hancock, Cory Henry, and Stevie Wonder, and Lady Gaga, who have developed – through an extreme immersion, so much talent that music literally oozes from every part of their being, that they have no compulsion except to pursue music as both an art form and a source of income, all others should be realistic and recognise that for many, even where they are talented, music might remain a hobby – a gift from God to be enjoyed by them and maybe a few close associates, even if it never makes any money – nothing bad about that.

I think also there are two kinds of pressure – a positive one, which propels you to create amazing things, cos you are not thinking about what people’s opinion is, just going with the flow and the greatest creative results come from this, especially when you are not afraid to experiment and be surprised by things you never had in mind, lucky accidents – most good noticeable music is the result of lucky accidents – and yes a lot of hard work, but the unique elements are usually not premeditated – cos they are discoveries – you try things out and it works. The other pressure is negative, driven by fear of failure or fear of success or both where you are locked in by our own hopes/expectations – kind of paralyzed, not able to move forward.

This morning I created a most amazing music theme, in just a few minutes, when I was simply accepting the truth, I may never be a professional musician, and my creativity simply exploded, I was making music for myself, to enjoy, and this creative freedom took me to places in music that I had never been to. I was not under any pleasure to please any one else, the ultimate freedom. I am assured that some of the very best commercial music originates from this place, where there is no severe external pressure, like bills to pay. We are free to do what comes naturally to us – our undiscovered best, when we are not afraid of failure.

While the business of music is a lot of hard work, if we accept that core elements of this are down to a bit of luck, experimentation, and totally unplanned – inspiration – where does it come from?-good question – who knows!, we can relax and be happy with whatever portion of creativity we have been apportioned and enjoy that and be content with what we have been given and what we have achieved, no matter how small it its. The associations required to be commercially successful are lucky accidents or predestined – whichever you believe, so let’s not make the music as a profession too serious a commitment, just in case it does not work out commercially – even if the music is very good.

I conclude by saying for many, music can only be a creative passion, that needs to be sustained by some other employment – however boring that other job is, so that the two balance each other – we are inspired by the music we make, even if it does not make any money – we enjoy it and it gives us energy to fulfil other aspects of our lives – like a non musical day job. The day job gives us money to afford decent music tools, and we strike a balance – this is the de-facto for most people who are passionate about music. If the music we make makes us enough money to quit the day job – that’s a bonus, not something we can always control, manipulate – cos fashions and people’s preferences/musical tastes will change. One more thing, even for artists who have been successful with music at some point in time, not all of them pursue music actively for a whole lifetime, cos that lifestyle is also very very demanding, lots of travel, and the workload of running the business side of things to keep the money they have earned – which is another whole set of wisdoms that take time to learn – ask Dolly Parton. Music as a profession is a risk, and not one that everybody should take.

However I close on a positive note – the freedom and creativity of music – even just listening to it, will add value to any other pursuit, like study or a full time job, by opening up aspects of your enjoyment of life itself. Good music requires passive or active collaboration with others(listening, responding, reacting, agreeing, negotiating, feedback, looking at things from a fresh angle the next morning, reflection), a key life skill which we can apply to anything else.