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Hey Swarth, yes there is a big difference..in some cases Hamburgs are closer to other European pianos than NY Steinways..I have played the Schimmel all day and already I am starting to get a sound on it.. The thing I love about Steinway is that 3 dimensional sound.I love the middle of those(B and Ds mostly).. But I can honestly say I love the sound of the Schimmel and I agree its almost like a baby Fazioli.. I dont miss anything
Great to see so many passionate and expert opinions on Schimmel
I tried lately RX3, C3, Estonia 190 and a Schimmel SP189T not the newer K series but it was the sound and touch that are the most appealing to me so far.
Do you know if they did some drastic improvements between the SP189T and the newer 189K? I saw that there is not a C series of the 189 so my hopes are that the craftsmanship on this older series is comparable?
Alain,I have no idea about the older models..Honestly I dont ever recall playing a Schimmel in my career. I am so in love with this piano.Since Thursday I think i have played it for 12 hours..Everything sounds so good on it..The action is really great. I really dont know too much about pianos,I am learning.I do know what I like..I thought the Estonia was really good,but not like the Bechstein A or the Schimmel K.. I am curious to try the shigeru K..But I could not be happier(unless it was free!!!)
Joey, What's very exciting is that a jazz player like you endorse this piano for all type of playing. Listening to some store "experts", you'd think that those pianos are really made for classical music (i.e. sound better with classical pieces, whatever it means). Being French therefore snob and vain, I almost want to believe this kind of things but you made my choice so much simpler. Merci beaucoup!
yeah Marty, Thats kinda what I think.I started out on classical music and switched to jazz when I was 15.I did go back to it in my early twenties .I took lessons with a guy in between touring with Michael Brecker.It was very hard to do both,due to the amount of practice it takes to play classical music.Jazz is hard enough as well..Yesterday i did pull out some things and stumbled through them..Ravel,Brahms,Chopin..The piano really shines.. It works for jazz as well. I like it well the sound "pops" out of the piano.It did it on the Bechstein and on the Schimmel. I played a Bosie that I did not like as much,(well at all) for jazz.. I am so used to Steinways that this is really a great change..Everything sounds so crisp and clear/clean and warm...This piano also has a very good dynamic range,I think thats why I like it for Jazz..
Well, the Bosey has quite a unique voice. I don't think it would work for jazz either. It really doesn't work for anything earlier than the Romantics. That is, the contemporary pianos.
How about a jazzy Brahm's album? You could pull it off!
Marty in Minnesota
It's much easier to bash a Steinway than it is to play one.
Well, the Bosey has quite a unique voice. I don't think it would work for jazz either. It really doesn't work for anything earlier than the Romantics. That is, the contemporary pianos.
How about a jazzy Brahm's album? You could pull it off!
Yeah, all that stuff Oscar Peterson played on a "Bosey" wasn't very good.
Well,I am not such a fan of Oscars stuff on the Bosey..He plays great but I could have used a bit more grit from the piano. I do think they sound elegant,and I have performed on them and enjoyed them..BUT it would not be in my top 3 pics for concert or home..thats just me...hmmm so what would be my top 3 then.. Fazioli Hamburg Steinway My Schimmel!!!!!! lol
It is interesting how certain brands can be classified by what genre(s) sound best on them. I never really thought about it that way. I know certain brands are mellower and warmer, others are bright and crisp, etc., but never really about genre-suitability. I guess when you have a focused repertoire, it becomes more important (ie: Most classical pianists probably want to stay clear of Yamahas, Jazz pianists don't really want Bluthners, etc.). I always just played whatever on whatever I was playing on, be it a Fazioli grand or a Wurlitzer spinet.
For compromises, I've always found Kawai's to be fairly versatile. They have the crisp sound that's good for jazz, and the sustain...I'll let this sum it up. http://youtu.be/g7-5io1muSQ?t=21s Basically. I can hit a chord with the sustain down, and it'll keep ringing and ringing for at least a good minute. I have no clue how long a "long sustain" should be, but I'd say a minute's pretty dang long for an upright.
It is interesting how certain brands can be classified by what genre(s) sound best on them. I never really thought about it that way. I know certain brands are mellower and warmer, others are bright and crisp, etc., but never really about genre-suitability. I guess when you have a focused repertoire, it becomes more important (ie: Most classical pianists probably want to stay clear of Yamahas, Jazz pianists don't really want Bluthners, etc.). I always just played whatever on whatever I was playing on, be it a Fazioli grand or a Wurlitzer spinet.
For compromises, I've always found Kawai's to be fairly versatile. They have the crisp sound that's good for jazz, and the sustain...I'll let this sum it up. http://youtu.be/g7-5io1muSQ?t=21s Basically. I can hit a chord with the sustain down, and it'll keep ringing and ringing for at least a good minute. I have no clue how long a "long sustain" should be, but I'd say a minute's pretty dang long for an upright.
From everything I've read Yamahas are not as bright as in the past. Their concert model is absolutely magnificent and is probably the second most popular piano for classical concerts. It is certainly not what one would call overly bright.
"Crisp" and "good sustain" would normally be considered opposites. Sustain is normally a consideration in the treble, and when listening for this the pedal should not be down.
I enjoy playing all pianos that are prepared properly..I always try and find the strengths of a piano and let the music come out accordingly..I have liked playing Yamahas just because they are consistent..Playing different pianos every night can really suck..Steinways have been by far the most INconsistent piano.But when they are good,they are great. I have done shows in Europe on Bluthners,Bechsteins,Bosies,Schimmels,Kawais,Faziolis.. I do like the Yamaha C7 and love the CFX..For me I really want a good action..I am able to get "my sound" out of most pianos but I need the action to be even and responsive..Once you use a monitor,the sound of the piano is changed..Although I do have my own monitor system,so I full control of the volume.I only use when the band is loud.(so i use it often)!!! I would be thrilled to play my Schimmel every night ,although we would need a bigger one
I am just realizing how much it must be challenging for a pianist to "adapt" to a new instrument each time he performs and delivers his sound and what people are expecting of him/her. I mean a saxophonist will have his Selmer, a guitarist his guitars or a drummer his particular setup, a guy at keyboard will rent the same exact synthesizers, etc.
