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.