Piano Tone Download

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Piano Tone Download

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We all know that the faster we put the key down, the louder the sound but is the way we send the key down a factor in this (using this type of movement or that), or is it simply a matter of controlling the speed of the one key in relation to the speed of the next key in a melodic line, or a stream of chords?

Schools of piano playing are a bit like religions, each one likes to believe it has all the answers while the other schools are wrong. Why is it that a great pianist can come from any school or tradition? There are all sorts of myths about the ideal hand for piano playing, fleshy fingers being high on the list of suitable attributes. Supposing a pianist produces the most wonderful singing tone yet has long, thin fingers and does not appear to use stroking or sliding movements to get this sound? Could it be that pianistic skill has nothing to do with the hand?

German physiologist Emil du Bois-Reymond was the first to describe the role of the central nervous system in motor activity (in his 1881 paper The Physiology of Exercise). Motor activity happens because of interaction of all the muscles involved, which need to work in the proper order. It is nerves that transmit the messages from the brain to the muscles, and for the nervous system to be at its most efficient other senses need to be involved, such as auditory, visual and the sense of touch (kinesthesia). To perform complex movements, we need a definite sense of purpose. As we refine our control, we eliminate extraneous and counterproductive movements, which means the movements become faster, easier and more efficient. Thus the secret of virtuosity is not in the muscles, but in the central nervous system.

Even if it were possible to deduce which group of muscles was responsible for producing a complex movement at the piano, it would not help us one iota because the muscles are not controlled consciously. The sharper the sound picture we have in our innermost ear and the more vivid our conception of the artistic meaning we have in our imagination, the more directly we will accomplish this at the piano. Since we achieve all this by unconscious means, our sense of purpose is infinitely more important than analysing the technical means.

Oscar Raif (1847-1899) was one of the first to address the importance of the central nervous system in controlling the complex movements in piano playing. He did a series of experiments with pianists and non-pianists and discovered that there is probably no relationship between individual finger agility and piano technique. He found that there was no difference in the number of individual finger movements trained pianists and non-pianists were able to make. The average intelligent person was able to move an individual finger as fast as a concert pianist. What matters in piano playing is the precise timing of the successive movements of the fingers. Gymnastic finger exercises can only improve strength and endurance but will not necessarily help in a complicated movement.

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I just recently bought an acoustic piano. Sounded really good when we tested it out at seller's place. Now after playing a bit the keys sound off by one note (middle c would sound like d, d sounds like e and so on). Does this happen in pianos after moving? Can this be fixed?

I'd honestly expect it to be flat rather than sharp! If the piano has a wooden frame holding the strings, it would be unwise to try to move the tuning much. When you tried it, and it was in tune, maybe it wasn't at concert pitch anyhow. If the frame is cast iron, it shouldn't have gone out by that much - unless it's not been tuned for years, and maybe has suffered a move or three, it's possible to bring it to concert pitch, but probably it would take two or three tunungs over some months.

If the strings are not too old, it can be tuned to concert pitch, but expect to pay double or more for a whole tone pitch raise; the piano will keep wanting to return to that lower pitch and the tuner will have to keep retuning sections and may have to come back.

Do not hire the tuner if they say they have to come back multiple times and tune the piano up a small amount each time. They are trying to get extra money from you or are afraid of breaking strings. A good tuner should be able to do a decent pitch raise in one or two visits at most, and will know how how to replace or repair broken strings and will have the parts on hand. They may have to custom order broken bass strings.

Check the strings to see if a pitch raise is possible without breaking strings. If you find any of the following, the chances drop:- broken, missing strings. - a few clean shiny strings indicate failure and replacement in the past. - a knot in the top part just below the tuning pin indicates failure and repair. - count the coils around each pin. There should be three. If some pins and a neighbour have 1 1/2 each, a tuner has repaired a broken string by undwinding the three coils of one pin, shifting the string around the hitch pin at the bottom, and sharing the three coils with the neighbouring pin. (Strings start at one pin, travel down the piano, wrap around the hitch pin, come back up and finish at the neighbouring tuning pin. Strings also usually break right at the tuning pin, making this repair possible.)

It is a profession that is often promoted among people with visual impairments as their heightened sense of hearing makes them well suited to a profession where you have to listen attentively to the pitches of instruments.

People who are well versed in piano tuning are craftsmen and women of the highest order. If you can get a good one pay his fee no matter what the amount. The care they provide for your instrument and the advice they give is worth every penny they ask.

This would be extremely rare for a new-ish piano just from moving (unless maybe if it got pulled out of the lake and left in the rain and/or dropped down the stairs during the move). Yes, it can probably be fixed and is probably worth fixing. You would need to have a pro look at it and do an assessment.

I tried the CP88 a few months ago and felt the tone was really bright. I didn't realize I should use the EQ, but did set the tone to 0. It also could've been the Yamaha active speaker that was connected to the instrument.

My question is: is there a way to set up a mellow, lovely, solo concert grand piano on the CP88?

The bright tone in there is made to cut through the mix. At least, that's what everyone believes. But my ears are really sensitive to high frequencies, and I didn't find my last experience that enjoyable.

Otherwise, this might be the perfect stage piano for me. The action and user interface seemed almost perfect!

My question is: is there a way to set up a mellow, lovely, solo concert grand piano on the CP88?

Choosing a piano for solo concert...

How? with care (choosing the wave character) that suits what you want to accomplish, positioning (speaker type and placement), EQ (adjust for room acoustic deficiencies) and patience. And sometimes, with a little help from your friends.

Hope that helps.

Hi. I have the same perception, that it is very difficult to find a good solo grand piano tone on the CP88. My home studio is carefully structured with damping material, and I have a high end speaker system (Genelec studio monitors). I also have some other stage pianos CP5, CP4 and a RD-2000. Everyone of this pianos works fine in the room after small tone adjustments. But not the CP88 that has a thinner sound overall. I read Bad Misters text and gave it another chance with positioning the speakers around a bit and also try to move the piano and speakers closer to a wall and in the middle of the room for example. And yes, my experience after that, it became a lot better. But in comparatively to the other pianos the CP88 sounds still thinner. Especially in comparison to the CP4. It has a much ``warmer tone, and I feel it depends on for example. the excellent effect MSC Damper resonance, which is adjustable compared with CP88s on/off switch without any major noticeable effect (in `my ears). The CP4 have also some other useful parameters such as Velocity Sensitvity deep and offset, which the CP88 also lacks. Increasing/decreasing of this parameters, makes that you not need to tweak the eq so hard to find a acceptable solo grand piano tone. The CP88 have not this functions at all and it is a bit strange, that it is removed in a successor model (CP88). I hope it comes at least a adjustable damper resonance function in a future CP88 OS update. Yamaha has promised some updates but it is quite a long time ago since the last one now. Thanks one more time to Bad Mister for your support here in the forum.

Best regards// Stefan. 152ee80cbc

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