Senior staff writer Brent Butterworth is known as an audio journalist, but he is also an accomplished musician who has played double bass with jazz, rock, and folk groups in New York City and Los Angeles, recorded an album with his own jazz group, Take2, hosted regular jam sessions for years, and worked with innumerable keyboard players. He also owns two digital pianos.

Previous versions of this guide were written by John Higgins, who holds a Bachelor of Music degree with an audio-production and piano focus from Ithaca College, as well as a Master of Music in keyboard collaborative arts from the University of Southern California. John has worked as a professional music director, performed in concert halls and on nightclub stages, and taught music at a private Los Angeles middle and high school.

Electric Keyboard

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Our testing panels have included two pro pianists. Liz Kinnon has performed with artists such as Dizzy Gillespie and Andy Williams, worked as an orchestrator on the animated shows Animaniacs, Pinky and the Brain, and Histeria, and currently teaches jazz piano at the Colburn School in Los Angeles. Phil Metzler is a lifelong musician who plays keyboards (and occasionally trumpet) in the pop/rock band Just Off Turner, which has released five studio albums. He also composes music in his home studio in Los Angeles.

Most digital pianos include a simple sustain pedal, which lets the notes ring out, but it is usually lightweight and prone to flopping over and getting kicked around the floor. Even if your piano comes with a pedal, we strongly recommend upgrading to a sturdier, weighted pedal right away. Some digital pianos allow an upgrade to a three-pedal module, which adds the soft and sostenuto pedals found on an acoustic piano; we recommend getting one of these if your piano is compatible.

The FP-10 is feature-packed and supports Bluetooth. It offers many special features, such as a metronome, action adjustment, and the ability to split the keyboard in two so that middle C is in the middle of each half of the keyboard, allowing a teacher and a student to play together on the same piano.

The physical controls leave much to be desired. The FP-10 lacks a digital display, and making adjustments manually is less intuitive on this piano than it is on our runner-up pick, the Casio CDP-S160.

We also liked the two electric-piano sounds. Brent particularly liked the B3 organ sound, and John thought the rotary-speaker sound effect added to the realism. However, the harpsichord and string sounds had a sterile and decidedly digital quality. The internal speakers play loud enough for a small, acoustic jam session.

You can return to the grand-piano sound with a single press of the function button, and the keyboard also has a dedicated button for starting and stopping the record feature. The volume dial feels firm and moves smoothly.

The keyboard also has a metronome that lets you adjust the tempo up and down, or you can set a specific tempo between 20 and 255 beats per minute. A duet function allows the CDP-S160 to split into two sides so that a student and teacher can sit at the keyboard together, with each side covering the same range of notes.

The CDP-S160 comes with a flimsy sustain pedal, which we recommend replacing with a heavier, sturdier pedal. The optional Casio SP-34 three-pedal add-on gives you the additional soft and sostenuto pedals found on an acoustic piano, and we recommend upgrading to it at some point.

The Alesis Recital Pro is by far the easiest to use of the digital pianos we tested, which may be especially important for beginners. Despite being the least expensive of our picks, it sounds good, plays reasonably well, and has the essential features we like to see.

The sound effects, on the other hand, are great, and the Recital Pro has a lot of them: eight different reverbs, eight choruses, and three modulation effects (tremolo, vibrato, and rotary speaker). The keyboard keeps your effect settings for each of the 12 sounds in memory, so it restores them when you choose that sound again or turn the keyboard off and then on. These effects are likely to be less important and useful for a beginner, but they might appeal to someone looking for an inexpensive performance piano.

Ease of use is its strongest asset. You can handle all instrument selection through six buttons on the console (two sounds per button). Buttons for modulation, chorus, and reverb effects are provided, and the piano has a digital display that shows all the settings and parameters.

Another feature that we found useful is the metronome, which you can easily access and adjust through the digital display and scroll wheel. Like our top picks, the CDP-S360 allows you to split the keyboard so that a teacher and a student can play together, or so that a single pianist can access two different sounds (or even two sounds at once in the upper register). The piano-control function of the Music Space app makes this feature easy to configure.

This piano plays just like the CDP-S160. The CDP-S360 uses the same scaled hammer action, and it has the same unusual but nice key texture. In a side-by-side comparison, the two keyboards felt the same.

Like most budget digital pianos, the CDP-S360 comes with a lightweight sustain pedal that tends to wander around on the floor. We strongly recommend replacing it with a heavier, sturdier pedal, or with the optional Casio SP-34 three-pedal add-on, which gives you the additional soft and sostenuto pedals found on an acoustic piano.

Although the Artesia PA-88H is a decent keyboard, nothing about it stood out enough for us to rank it above any of our picks. Brent owns one, but he finds that most of the pianists in his jam sessions greatly prefer his Yamaha P-45.

We considered the Roland Go:Piano88 as a possible substitute for our budget pick, the Alesis Recital Pro. It has nice-sounding samples, but it lacks weighted keys, which are important for beginners to learn on so that the transition to an acoustic piano is easier.

Brent Butterworth is a senior staff writer covering audio and musical instruments at Wirecutter. Since 1989, he has served as an editor or writer on audio-focused websites and magazines such as Home Theater, Sound & Vision, and SoundStage. He regularly gigs on double bass with various jazz groups, and his self-produced album Take2 rose as high as number three on the Roots Music Report jazz album chart.

An electronic keyboard, portable keyboard, or digital keyboard is an electronic musical instrument based on keyboard instruments.[1] Electronic keyboards include synthesizers, digital pianos, stage pianos, electronic organs and digital audio workstations. In technical terms, an electronic keyboard is a rompler-based synthesizer with a low-wattage power amplifier and small loudspeakers.

Electronic keyboards offer a diverse selection of instrument sounds (piano, organ, violin, etc.) along with synthesizer tones. Designed primarily for beginners and home users, they generally feature unweighted keys. While budget models lack velocity sensitivity, mid-range options and above often include it. These keyboards have limited sound editing options, focusing on preset sounds. Casio and Yamaha are major manufacturers in this market, known for popularizing the concept since the 1980s.

An electronic keyboard may also be called a digital keyboard, or home keyboard, the latter often refers to less advanced or inexpensive models intended for beginners. The obscure term "portable organ" was widely used in Asian countries to refer to electronic keyboards in the 1990s, due to the similar features between electronic keyboards and electronic home organs, the latter of which were popular in the late 20th century.

Keyboard instruments trace back to the ancient hydraulis in the 3rd century BCE,[2] later evolving into the pipe organ and smaller portative and positive organs. The clavichord and harpsichord emerged in the 14th century CE,[3][4] Technological strides brought more advanced keyboards, including the modern 12-tone version. Initially, instruments like the pipe organ and harpsichord could only produce single-volume sounds. The 18th-century innovation of the pianoforte, with hammers striking metal strings via key pressure, enabled dynamic sound variation.

Electric keyboards began with applying electric sound technology. The first was the Denis d'or stringed instrument,[5] made by Vclav Prokop Divi in 1748,[6] with 700 electrified strings. In 1760, Jean Baptiste Thillaie de Laborde introduced the clavecin lectrique, an electrically activated keyboard without sound creation. Elisha Gray invented the musical telegraph in 1874, producing sound through electromagnetic vibrations.[7] Gray later added a single-note oscillator and a diaphragm-based loudspeaker for audibility.

In 1973, the Yamaha GX-1 introduced an early polyphonic synthesizer with eight voices.[8] The EP-30 by Roland Corporation in 1974 became the first touch-sensitive keyboard.[9] Roland also released early polyphonic string synthesizers, the RS-101 in 1975 and RS-202 in 1976.[10][11]

In 1975, Moog's Polymoog merged a synthesizer with an organ, offering full polyphony through individual circuit boards. Crumar's "Multiman" organ with synthesizer arrived, and ARP Omni combined a synthesizer with a string machine and bass in 1976. Korg's PE-1000 that year featured a dedicated saw oscillator for each note.[12][13]

In 1977, Yamaha CS-60 and CS-80 polyphonic synthesizers introduced 'memory'.[14] In 1978, Oberheim's OB-1 brought electronic storage of sound settings.[15] That year, Sequential Circuits Prophet-5 offered the feature in a five-voice polyphonic synthesizer. Fender's Rhodes Chroma, the first computer-controlled keyboard, resulted from ARP's engineers being acquired by Fender in 1979. Its successor, the Chroma Polaris, released in 1984, featured the 'Chroma' port.[16][17]

Compared to digital pianos or stage pianos, digital home keyboards are usually much lower in cost, as they have unweighted keys. Like digital pianos, they usually feature on-board amplifiers and loudspeakers. Stage pianos, however, typically do not have integrated amplifiers and speakers, as these instruments are normally plugged into a keyboard amplifier in a professional concert setting. Unlike synthesizers, the primary focus of home electronic keyboards is not on detailed control or creation of sound synthesis parameters. Most home electronic keyboards offer little or no control or editing of the sounds (although a selection of 128 or more preset sounds is typically provided). 152ee80cbc

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