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David B Online Content OP
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Originally Posted by Evgeny 85
Keyboard.
Playing double rehearsals, fast repetitions seems more difficult than on an average grand piano, in this respect the keyboard challenges your technical capabilities. It becomes necessary to adapt, sometimes notes are skipped, unfortunately this is true, I do not know if it is possible to fix it, but the difficulty with repetition of one note is the main feature. If you adapt on this keyboard, the advantage is that it allows you to switch to real acoustics and be prepared.
And it's also very well controlled, for nuances like pianissimo it's very good.
To summarize, the keyboard is good for preparation, but for concert and performance I would prefer a lighter keyboard.

This is an interesting and accurate observation. While I don't have the technical skill to be bothered by the slightly more difficult key repetition on the N1x, I do notice that when I switch to an acoustic the familiarity and ease of playing is there. It's like the N1X is great training for the real thing. The opposite it also true. I have a Yamaha P45 in my office at work and I find it very uncomfortable to play. The action is way too light and the key return is way too fast. Sometimes I end up playing repeated notes by accident. The N1X action can be counterintuitive to inexpensive folded actions, but great conditioning for acoustic pianos.

Quote
Vst.
If you turn off the internal sound and play only through external monitors, then the space of sound and connection with the keyboard are immediately lost. So I found my own option, the combination of internal sound and external monitors with pianotheques is the best experience in my opinion.
I have attached a small video from my phone, this is just a keyboard game in different registers and techniques. I'll post some performance later. ;-)

https://drive.google.com/drive/folders/1d7WxVqudAO_x_cED9QZzxIcJ94ZpOy6B?usp=sharing

Another great observation. I always keep the internal N1X speakers active to maintain the connection to the instrument. Adding external monitors to the mix can enhance the bass and treble response, but most of the time I've been finding that the internal speakers are sufficient for the VST and onboard sounds. I think it's important to not bypass the internal speakers if you want the most authentic playing experience. The placement of the speakers on top and the vibrations through the instrument contribute to the illusion.

What pianoteq sounds are you mixing with the internal? Thanks for sharing.

God bless,
David


Yamaha AdvantGrand N1X
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Originally Posted by merplayer
My new N1x came in this week! (16 week wait!) I’m thrilled. Been silently following this thread for months...


Thoughts? Will moving it really make any difference at all?

Congrats. Looks very nice where it is. Proximity and location can change the reverberation effect, but I don't think you'll notice a difference in timbre.

Personally, I would consider location first by determining what is the most welcoming environment to play in. I want the piano to beckon me. It's location and position can have a significant impact on motivating me to play. The sound difference influenced by location would be secondary for me and might not even factor into my decision.

Let us know what you decide. Thanks for sharing.

God Bless,
David


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Evgeny! Many congratulations. I'd say those repetitions and trills are an excellent demonstration of the escapement and subsequent tonal reproduction of this amazing instrument.


Originally Posted by merplayer
[img]https://www.icloud.com/sharedalbum/#B0y5nhQSTiS111;5D63A185-E69D-470D-8BA3-7179DE5581A3[/img]

@merplayer - many congratulations to you. Now OMG! Why would you want to change anything to that cozy piano room? Probably tweak the settings like there's no tomorrow to make the setup work. I love the colors and ambience!


@Pete14
When you buy your next piano, I'll consider selling my N1X and buy what you bought. You've patiently analyzed or overanalyzed every DP worth analyzing :-) But I realize individual needs and tastes are varied!

Last edited by mmathew; Yesterday at 09:25 AM.

A man must love a thing very much if he practices it without any hope of fame or money, but even practice it without any hope of doing it well. Such a man must love the toils of the work more than any other man can love the rewards of it.
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Originally Posted by mmathew
[/quote]@Pete14
When you buy your next piano, I'll consider selling my N1X and buy what you bought. You've patiently analyzed or overanalyzed every DP worth analyzing :-) But I realize individual needs and tastes are varied!

Oh, you just wait and see, mmathew, you just wait and see!

I was a happy guy when I first joined ‘the world’; I’d come around every once in a while and ask a question, lurk, or even make an observation; then I’d go off to live my life the way it’s meant to be lived, but then I started ‘visiting’ more often; I started pondering about the longer pivot, longer sample, and the non-folded action even though I wasn’t in the market for a new piano.

You see, there was a time when I could be happy with my piano for years; without a single care about whether there was something new coming out, or whether my escapement was fake, the action folded, or the pivot short; there was a time when I could sit and practice without worrying that I was missing out on that there hybrid because I was oblivious to all of this and to all of that.

There was a time, but that time is now gone, and now I spend most of my waking hours thinking ‘bout other digital pianos and in the process disliking my own even though I love it, but Gombessa insists “them pivots are short, Pete, them pivots on your P-515 are short”.

Next thing you know, I’m fantasizing about the NV-20 sitting in my living room asking me to play with it: “Oh yeah, them pivots on the NV-20 are the longest and they’ll get me to the third by Rach in no time”; only, the NV-20 doesn’t even exist!

“Screw you”, I say to the P-515 for holding me back, but then a part of my older-self reaches out, apologizes to the P-515, and forces me to leave this world, if for a moment, and practice like the good ol’ days....... “what have I become?”

....but then I’m back here, and the cycle begins again; over and over, again!

You just wait and see, my friend, for that will be you, too; unless you take my advise: run, mathew, run! laugh

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David B Online Content OP
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Originally Posted by Pete14
Oh, you just wait and see, mmathew, you just wait and see!

I was a happy guy when I first joined ‘the world’; I’d come around every once in a while and ask a question, lurk, or even make an observation; then I’d go off to live my life the way it’s meant to be lived, but then I started ‘visiting’ more often; I started pondering about the longer pivot, longer sample, and the non-folded action even though I wasn’t in the market for a new piano.

You see, there was a time when I could be happy with my piano for years; without a single care about whether there was something new coming out, or whether my escapement was fake, the action folded, or the pivot short; there was a time when I could sit and practice without worrying that I was missing out on that there hybrid because I was oblivious to all of this and to all of that.

There was a time, but that time is now gone, and now I spend most of my waking hours thinking ‘bout other digital pianos and in the process disliking my own even though I love it, but Gombessa insists “them pivots are short, Pete, them pivots on your P-515 are short”.

Next thing you know, I’m fantasizing about the NV-20 sitting in my living room asking me to play with it: “Oh yeah, them pivots on the NV-20 are the longest and they’ll get me to the third by Rach in no time”; only, the NV-20 doesn’t even exist!

“Screw you”, I say to the P-515 for holding me back, but then a part of my older-self reaches out, apologizes to the P-515, and forces me to leave this world, if for a moment, and practice like the good ol’ days....... “what have I become?”

....but then I’m back here, and the cycle begins again; over and over, again!

You just wait and see, my friend, for that will be you, too; unless you take my advise: run, mathew, run! laugh


Stop my friend, as you go by, as you are now, so once was I. As I am now, you soon shall be. So, prepare yourself to follow me.

This is what "the world" will do to you.


Yamaha AdvantGrand N1X
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All this talk about Pivots has me coming up short wink

Especially since I have a Casio Px5s smile


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Originally Posted by Pete14
Evgeny, I noticed you mentioned how ‘the key travel is deep’. I might have all this wrong, but my understanding is that key-dip got deeper as pianos got louder (in a nutshell), and if we are to take a look at the ‘Mozart’ pianos, and even the ‘Chopin’ pianos it is very easy to see that there is barely any key travel as compared to ‘modern concert grands’.

I speculate that the ‘older’ shallow-dip-action could make things a little easier on the player in terms of the physical effort needed to get ‘things’ going: being able to go from one place to the other with relative ease (huge melodic interval leaps), playing faster, etc.

It seems like we traded some of that ‘facility’ for loudness (not necessarily saying this is wrong, but it is what it is).

Sometimes I watch videos of these ‘period’ pianos being payed, and it’s as if the keys are barely moving at all; and dare I say that it all looks so ‘easy’ on the hands.

I wonder if the NU1X brings about both realities into play: ‘easier’ keyboard due to shallower dip, yet still capable of getting pretty loud; you know, because it’s a digital, and it doesn’t have to follow on the ‘deep/loud ratio’ in the same way an acoustic is bound by (physics). With the NU1X we can get to the higher velocities without going ‘too deep’; it’s called a velocity curve (look it up), and it can be manipulated to our liking, this curve, without necessarily following on mechanical -deeper- principles.

This is all hypothetical (what do I know; I’ve never built an acoustic), but I sometimes wonder if Chopin, himself, would’ve had trouble going through all his etudes (Op.10) in one sitting on a Steinway D, considering his fragile constitution.

The guy could barely go on a stroll without catching something (a cold, pneumonia, and/or overall sadness); me thinks a Steinway D could’ve potentially damaged poor, little, sickly Chopin.


P.S.

No disrespect to Chopin; the guy was a genius. I’m just trying to make a -hypothetical- point. IMHO!

P.P.S.

Considering that the N1X is a digital too, I wonder if Yamaha could’ve opted for a shallower key dip, and as with my original hypothesis, compensated for this via some unique blend of curve to loudness ratio.


Of course, I can use the curves and the sensitivity level on the N1X, of which there are 3. And I feel that the most correct sensation is the default sensitivity level.
I tried the keyboard NU1X and it seemed too viscous to me, it really looks like the Yamaha piano that I once played. And the action of N1X is superior to that. Pete, perhaps this exaggerated that deep keys, there are grand pianos with much more difficult keyboards. Everything is so relative. Even grand pianos of the same brand have a completely different feels.
By the way, I have information that, for example, at the Tchaikovsky Competition, pianists not only choose a grand piano, but also ask technicians to lighten the keyboard and tune it to their liking.
About Chopin, good question. One can only guess, but probably given his ingenious technical ability for that time, he would quickly adapt to a modern instrument. I have not played the historical piano, but it would be interesting. =)


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Originally Posted by David B
[quote=Evgeny 85]

Quote
Vst.
If you turn off the internal sound and play only through external monitors, then the space of sound and connection with the keyboard are immediately lost. So I found my own option, the combination of internal sound and external monitors with pianotheques is the best experience in my opinion.
I have attached a small video from my phone, this is just a keyboard game in different registers and techniques. I'll post some performance later. ;-)

https://drive.google.com/drive/folders/1d7WxVqudAO_x_cED9QZzxIcJ94ZpOy6B?usp=sharing

Another great observation. I always keep the internal N1X speakers active to maintain the connection to the instrument. Adding external monitors to the mix can enhance the bass and treble response, but most of the time I've been finding that the internal speakers are sufficient for the VST and onboard sounds. I think it's important to not bypass the internal speakers if you want the most authentic playing experience. The placement of the speakers on top and the vibrations through the instrument contribute to the illusion.

What pianoteq sounds are you mixing with the internal? Thanks for sharing.

God bless,
David


David, I agree.
By the way, I said that there is a feeling when playing with a completely closed lid, and if you activate external monitors and balance the volume, you can create the illusion of an open lid, when the sound is more direct, but probably the neighbors will not be happy.
Regarding the settings, I have not yet delved into fine tuning, I just tried a few presets in a hurry. Even with standard presets, it sounds richer and more realistic. Only different pianos have their own character, for example, the Steingraber is sharper, with a quick attack, the Blutner is softer, the internal sample of the Yamaha goes well with all the pianos, and it's great that there is such an opportunity. I will investigate this further later.
And what I really like is the ability to neutralize the standard sterile internal N1X sound and add some imperfect characteristics that the Pianoteq recreates perfectly.

Last edited by Evgeny 85; Yesterday at 01:27 PM.

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Originally Posted by David B
Stop my friend, as you go by, as you are now, so once was I. As I am now, you soon shall be. So, prepare yourself to follow me.

This is what "the world" will do to you.

Listen to the gospel according to David, for he speaketh the truth!

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