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After voicing the SK-5 brighter (and really trying to avoid the 4th octave :D) and playing it more, I'm starting to enjoy the less heavy/complex sound of the SK-5 sample more. I think making it brighter helps to calm the nasally-ness a bit, and I'm sure my ear is just becoming more used to it.
Side note: I tried some Hyper X Cloud headphones (which I do enjoy for music, they're not bad) with the ES8, and it sounded so scooped that the vocal texture of the piano was totally lost. Definitely not a good pair for piano!
I also wasn't impressed with the SK-5 sample immediately; however, after a while, I did start to notice it's good points and started to really enjoy it.
With regard to good headphones for Digital piano, if you're looking for a sound bet, the post popular cans here are probably the Sennheiser HD500 series line (especially cans like the HD598). This is a good choice for those not wanting to use a headphone amp.
Also well loved are the HD600, HD650 and HD660 cans. The HD600 is the most comfortable of all Sennheiser cans IMO (due to the foam in the headband being split into 4 section --- the newer cans that have only 2 foam sections); further, what makes it popular is that it has an awesome neutral character whilst still managing to be warm.
Problem with the HD600 is that an external headphone amp would be ideal with the Kawai ES8 or MP7SE because although they should sound good, the inbuilt amp isn't designed for cans with 300 ohm impedance. However, as many audiophiles on YouTube have noted in their comparison reviews, the HD600's outperform the HD660 overall, and are the best value for money Sennheisers. Whilst the HD660's clearly have improved in some areas, the overall compromise wasn't considered worth it.
Other good open back cans (for a more fun bass) are the Philips Fidelio X2HR's. The BeyerDynamics DT880's and DT990's are also good. This review is really good, I enjoyed this one for conciseness.
On a review I carried out about 18 months ago, more users here were happy with the HD500 line but users who upgraded to the HD600 though it a clear upgrade.
One of the issues with headphone shopping is the inability to compare in store lots of cans side-by-side. Thus, it maybe that if you can't get to a store that will order in for you the various competing cans you wish to try, that you instead plump for one of the most used cans on Pianoworld. I have a really good Dawson's store in Manchester UK that allow you to request of them to bring in any headphones you wish to try. I think this is a great idea because it's such a personal thing. With younger and older people having different tastes due to their different abilities to hear higher frequencies etc., trying things out just makes sense.
Probably from hand sweat from the stringer. I wouldn't worry about it. Some people might take to steel wool. But sounds like you have string cover felt which helps with dust which can contain moisture.
Mendelssohn Sonata in E op 6 Weber Sonata in C op 24
Had a look at the Kapustin sonatina op 100. Thought it would be categorically impossible but actually seems reasonably approachable. Might have a go at that.
I've also been looking at a Czerny nocturne, op 604 no 1 "L'Hommage". Can recommend these if you fancy going off the beaten track a bit. There are some not great copies on IMSLP but you can order a book of 17 pieces including the eight op 604 works by Editions Henri Lemoine.
I'm using an Acer chromebook with MobileSheetsPro to display downloaded music from IMSLP. If I have the music on printed paper though I prefer to use that as rule. The screen can be turned to portrait mode to display a single page at a larger size and you turn the page with a single tap on the screen. I don't think you need anything elaborate.
Whether it's easier or not on the screen depends on the score I suppose. Not much beats a nice Henle edition for clarity and ease of use. I have lots of Peters ones as well which are good. OTOH some printed copies are just facsimiles of, or similar to, old editions of things. I would probably use just the chromebook if it weren't for the fact that I have a large collection of printed music; only thing is for modern stuff IMSLP won't hold it because it's still in copyright so for that you will still need to order the score.
Hi akc42 - I just noticed in the pictures that you have an artist bench. Did you get the artist bench with the purchase of your Feurich, or was the artist bench a separate purchase? I finally got an artist bench with my Estonia and boy oh boy what a fabulous treat it is! The bench looks beautiful with your Feurich piano!
The bench is sold separately by the music store, but I agreed a deal in which they included it.
Why you let go the 515 and 645 ? I'm planning on buying the Clp 645 for study and use as midi controller later on.
Most people say that nwx action it´s heavey and they dont get used to it, some say that they get used to it ... How it is your opinion on that ?
The action is one of the heavier ones. I think most people would get used to it though. I sold these pianos because they just weren't used enough at the time. The P515 is basically the same as the CLP-645 (same action and very similar sound set). The speakers are the weak points on all these midrange pianos. The CLP-645 could play ear-splittingly loud but it wasn't a very pleasant experience to play it through speakers. Both pianos sound their best through headphones in my opinion.
If you don't play any Piano VST, but just play any song on your computer, do you hear the sound through DP speakers?
Osho, there is no beep sound or other noise from the piano speakers when I play music from a source other than piano. If I turn the buffer down to 64, I get static distortion on both the laptop and the piano. At 128, no static, but beeping sounds as I play. No beep sounds I can hear from the laptop speakers.
As a separate issue, it must be terrifying for anyone living in a dysfunctional home at the moment.
Absolutely. It's a worrying time. A lot of households are dysfunctional, and being able to get out and let off steam on your own can be the difference between keeping it together and exploding into domestic mayhem.
John, I like where your going with this, but i think Ash has the highest strength to weight ratio of the hardwoods if i remember correctly. Great to work with too, machines very well.
My philosophy is simple. To learn all the different prevailing ideas( past and present) in piano technology (soundboards specifically) challenge the ones that are false, agree with the ones that are true ( for confirmation) learn of the current trends, to be well rounded. So i am absorbing what is useful and discarding the rest. It's my "Jeet Kune Do". I've been talking flexibility in soundboards for years and everyone else talks only about stiffness like its an automatic reaction. Yet they never mention about too much stiffness. If i'm lucky and press them hard enough then i get the "impedance matching" thing. That's been the jist of conversations of the past 2 years. But all that theory stuff is fine, but i never hear any practical ways to pull that off. It just sounds like hit or miss and trying to sound intelligent while guessing. So, care to throw in what you think the variables and degrees are? So when in the shop hovering over a newly installed soundboard, how do you know if its too stiff? Or too flexible? Where is the balance point? -chris
Stiffness and flexibility are 2 ways to express the identical thing. Mathematically, they are just the reciprocal of each other.
Update: My students seem to want to go along with Skype lessons, though I'm not sure if that will last. Lucky for me they are mature students with fairly secure jobs. I hope I can adapt to this new medium, I am sure most teachers would agree it's not ideal, although private students tend to be more motivated than regular school students.
And that’s always been a bit of a problem for me. A piano sounds very different to my ears when I’m playing it or listening to it be played when I’m right there than when I listen to recordings, even with high grade headphones. I’m sure thankful I went piano shopping last October rather than trying to shop with virtual visits to the showroom.
Why would it be a factor that the vpc1 doesn't have modulation wheels/sliders etc? If you like the vpc1 but need these things as well, you could always buy a (small) separate unit with whatever controls you need, or am I missing something?
No, you're not missing anything. Because I use a lot of Kontakt libraries adding a NI S61 MK2 to my gear may suit my needs.
I've just noticed some differences between that microphone and the one I bought.
1) I don't have the soundcard that they're now including.I don't know how well that will work. 2) I feed the microphone directly into the mixer using a xlr cable (not the xlr to 3.5mm trs cable they have there). 3) Mine came with a smaller rigid desk mount.
Wish4 Thing I had not picked up it was a 6/8 piece when I first listened to it, but listening again I can hear that it is.
Thats one my challenges to get better at listening to pieces and being able to pick out what time signatures a piece is in and what scale (whether major or minor) that a piece is in.
Im busy at the moment learning being able to recognise the different intervals on the staff and developing my ear training to pick them up also.This is going well I just need to consolidate it all.
I am also learning how to get the left hand softer than the right. When I do this slowly as described in the AIO PA (book 1 Unit 11) 3 minute technique video I can get the left hand softer, but at the moment as soon as I speed it up then both hands go back to playing the same dynamics. So this is defiantly a technique that for me needs at lot more practice to get this right.
Good luck with the new piece Funicula This is a lovely piece to learn so can see why you are looking forward to it.
I hope everyone takes care and keeps well emotionally as well as physically.
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