My tech uses a set of tools that are long-handled metal with different-sized microfiber heads. The dust adheres to the head and is vacuumed off . I also bought a set from a piano-supply

Sorry, I don’t remember where I bought these.,, maybe a tech can provide the supplier.

Just to add...it seems to be that some of the bass notes are being cut off prematurely in the link I sent but not sure if thats due to the polyphony or the pedalling technique of the player? I have never tried any piano on iOS so this will be a first for me...

Is there any pain with this condition? It occurred again to me yesterday, but it comes completely without pain. Just some shock and consternation about a finger that decides suddenly not to bend by itself with a popping joint sound. I think the next time this occurs to me, I will use my right hand, instead of the muscles of the left hand, to bend my left pinky and see if that also causes a joint popping sound.

I am not entirely comfortable with this view by the researchers, especially if taken at face value or as a main thing. Going past the idea of written music being encoded concepts is probably a good thing to do. There is a reason why I'm not comfortable with the sound-thing. My original relationship to written music was mainly in that direction - by accident of circumstance - and I discovered I had a huge chunk of the puzzle missing.

In music you have an interplay of various elements which are all interconnected. When you focus on one, you pull in the others, and it's not good to stay with just one of them. Reading adds still another dimension, and it interacts with all of them.

In my own experience, I ended up "hearing" music when I looked at a score, like you might hear words when you read text. I thought that this was what everybody does. There were some parameters to this. I had learned movable Do solfege and the music I was given tended to be rather diatonic: Clementi - sonatinas - student music and easier music tends to be that way anyway. My hearing was for melody and even polyphonic melody, but weaker in chords. The result was that I would "hear" the melody when I looked at a score. When I played or sang from music, I played what I heard. ..... First weakness was that I heard this in relative pitch. You can sing a melody in G major, or C major, or Eb major, and everyone will recognize it as the same melody. ..... When you "read" music this way, it is almost like playing by ear, because you are playing what you "hear" (from the score).

With this skill I could play a melody, whether I was playing piano, guitar, recorder, or singing. When I remembered the music, I might play it on one of those instruments and wonder "What instrument did I learn this on originally?" If I ran out of notes, I'd know it wasn't a recorder piece. I'd also happily play it in the wrong key, needing to adjust to more and more black keys as it sounded wrong, to get it to sound right. If the music was not diatonic, then there was an immediate roadblock. There are weaknesses to this.

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Enter another element: the physical side of playing an instrument, and the symbol on the page. E4 on the piano is a specific location on the piano directly in front of you to the right of the two black keys: in notation, it's the circle that is crossed by the lowest line of the treble clef. Another form of reading is: You see that circle and your hand zips to that piano key. .......On violin, your finger presses a spot 2 finger spaces from the scroll on the D string. On descant or tenor recorder, "E" means 5 adjacent holes plus the thumb hole are covered. If you do these physical actions vis-a-vis your instrument, upon seeing that note on your page, you will get the desired pitch called E. You may go, "Oh, so that's how it sounds."

I didn't have this part. I didn't know it existed. When I discovered this part and started pursuing it, it was like getting a magical passkey that unlocks all doors. It is a simplistic and primitive skill; very simple things have a way of being a portal to "everything". You're not decoding and not interpreting at this level. It's like putting your foot on the brakes when the light turns red, or making and upward flicking motion on a light switch when it gets dark.

These things are all interrelated and interwoven. When I press the "E" key on the stimulus of the note head, I will hear what that sound is. When it is in the context of a series of notes, I may hear it as part of a melody, and if it was preceded by a line of notes in a scale, I'll anticipate it physically and aurally before getting there. I may pre-hear that E because of that melody, picture the note, and/or my hand may zip to that location based on what I am prehearing. It's all chicken and egg. But the physical association I described seems to me to be an important factor. And in that sense, "which instrument" will have to be a factor.

It's all the inter-modulation distortion that I inject into it

Ian

This is really a matter of taste.
I also wanna buy one of these great ones although Im waiting to test P-515 portable one from Yamaha.
All brands are strong in different perspectives. We just have to buy one and enjoy playing it.

Does anybody know if he was using equal temperament tuning? It doesn't sound like it to me.

Almo82,

I think the real question is, if the SK-2 made you consider increasing your budget, can you find a better piano at the new budget? If the SK-2 didn't particularly call out to you after repeated auditions, perhaps checking out other pianos in its price to compare could be fun.

Doing some math based on my shopping experience earlier this year, I believe your dealer is asking 35-40k USD for the SK-2. For about that money, there are some nice larger Kawai GX's, larger Yamaha CX's, Estonias and others for new instruments, or nice re-built Steinways, and a long list of nice used instruments.

Best of luck!

I guess I meant with more forward movement, when phrases are built in such a way that there's a clear movement towards some climactic point in the phrase, rather than separate notes. But listening to this waltz again, I'm thinking perhaps it's not an issue (only the beginning struck me as a bit lacking in that movement but I think you were doing it deliberately, starting slowly and then progressing to a more lively manner).

There were a couple of copies on Amazon when I looked.

Hi, BillM! Ah, yes -- Paul Simon in the early post-Garfunkel years; a bang-up good song from the early 70s. Just to be pedantic, the song steals copiously from the 16th century hymn "O Sacred Head, Now Wounded", by Hans Leo Hassler -- JS Bach set it for four-part Chorale, but did not write it. Personally, I don't find the lyric all that dark -- the three verses ground us in the "real" world, but the bridge underlines the dream, and is really a very hopeful one. Very well presented -- thanks for sharing!

Incidentally, in the Pianist's Corner Forum, there is a thread concerning Simon's new song that he performed on SNL, utilizing classical chamber instrumentation. I confess to finding that lyric head-scratching, but the song is very effective -- he's still trucking, even in his mid to late 70s!

Tried it out with a Mac and velocity is fine.
Tried the pianoteq demo and sound was awesome through headphones but not very pleasing when routed through the Rolands own speakers.

Can’t be having monitor speakers as well in the current setup - all the wires would make me sad so I’ll stick with the fully integrated solution for now I think and maybe consider going all in with a computer based setup sometime in the future.

Or just get an acoustic which is what I really want