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Hi
I just love this piano, how versatile it is in settings and overall structure.

There seem to be among pianos
- sk concert grand under type 1 A-D
- ex grand under type 2 A-D
- sk5 grand under type 3 A-D
- upright piano under type 4 A-D

So figured each A, B, C and D are just different settings on each of these.

But looking at sk concert A and then the mellow grand C - I looked but found no difference in settings at all.

But if I do change top from open3 to open1 it gets a bit mellower, but does not show as different setting between concert grand and mellow grand.

I thought maybe there would be a Mellow mode setting, but it was Normal on both.

So my theory that just different setting among A-D does not seem to hold out.

Or what setting differ in A=sk concert grand vs C=sk mellow grand?

Going through and creating setups, and want to understand what I can change and not and what are original piano samplings.
Many thanks for any input what else may be there in settings that I missed.

Hello Nip,

Good to read that you are enjoying your MP7SE.



No, as far as I am aware, the A~D variations are more than just different settings - they may be processed differently internally (i.e. not adjustable via the UI), or even different sample sets, depending on the sound.

Starting, for example, with the SK Concert Grand, it may be possible to create a sound that is similar to the SK Mellow Grand variation, but it will never be exactly the same as actual sound.

Kind regards,
James
x

Many thanks for a swift reply.

Yes, it seems you are right.
Most obvious is maybe the D=Standard Grand that seems heavily EQed - and see no difference in setting you can reach.

I guess making setups one have to consider that duplicating some presets with just different original source. It's all good, just wondering.

Such a well thought out instrument.

I don't know whether Kawai does this, but I know some keyboards have piano presets that use the same samples as another, but use pitch shifting... i.e. each key uses the sample that was recorded for the semitone up or the semitone down, pitch-shifted to the new correct pitch, which gives you a noticeably different (brighter or darker) timbre out of the exact same set of samples. That would be one way you could have a different piano sound from the same samples, but in a way that is different than anything you could create yourself with on-board editing.

This is the most inauthentic unethical (Yamaha is doing it left and right) way to produce sound and because of the way sample synthesis ruins the audio signal (the way it is done in the old days and hasn't changed almost for a half-decade).

Today, we have far better pitch-shifting algorithms that can preserve the timber much better.

I think the variants of Kawai main piano sounds are made with internal EQ changes and maybe, for the mellow variants, with different mappings velocity -> volume.

I didn’t know about pitch shifting used to shift the timber. But some VST can map velocity to other while preserving the volume in order to twist the timbre. XLN Audio Addictive keys can render a piano difficult to recognise with such twists.

You've missed the point. This isn't about stretching a sample to adjacent keys to cut down on the amount of samples needed (which I think may be what you're talking about), this is about pitch shifting every single note with the INTENT of altering its timbre. A "pitch-shifting algorithm that would preserve the timbre" would completely defeat the purpose!