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Perhaps that's because the YDP-x6x is no longer high-end Arius?
It use to be ... but I guess the YDP-x8x is in that slot now.

Do you think you can find information on the YDP-18x and compare it to the CLP725 ?

But the YDP 184 is only sold in a couple of countries, for example in France it’s not available.

I didn’t know about the YDP184, which is not available in France.

It has a curious position compared to CLP625... not superior in every point, but not inferior.


YDP184 has 24 voices compared to 10, but only the CLP has the Bösendorfer. A nicer display, more amplification... but not binaural synthesis, no escapement simulation...

I thought that the Clavinova line was designed to be superior to the Arius line. With YDP184 and CLP625, things are more complicated.

Typically price is at least doubled due import duties and internal taxes.

I think that Yamaha Steinberg usb driver it´s a minor detail, not so relevant
You can get for cheap a Zoom UAC2 interface with (much)better latency than those Steinberg drivers, and more connections too.
For the usb ground loop, there’s a ton of options to eliminate that.

Yeah, Macmacmac
Brazil it's a sad country for those who want buy things, almost anything besides food... kkk.

Afaik the YDP184 is US only.

Interesting comment.Some sensitive people (esp. in America) would take issue over your use of "kkk". But I doubt you intended it that way.

Even so, I'm intrigued.
I don't know much about Brazil, and perhaps even less about Brazilian Portuguese. But my daughter spent three years there and she learned quite a lot.

She shared some of those things, and among them is the notion that Portuguese does not use the letter "k". Is that true?
That's was what made me surprised at your "kkk".

BTW, her name is Becky, and she said that people there couldn't make sense of it with that errant "k".
They settled on spelling it Bequi. Pronounced "bay key", roughly. Funny stuff.

Mac,

About the kkkkk, is a local onomatopoeic way to represent laugh (cacacacacaca or something like that) or ROTFL. Go figure.

Yes, K, W and Y were not in the official portuguese alphabet when I was a kid, now they are, even though there are very few words with them in the official vocabulary (lexicon?).

Nowadays there are a lot of given names using these letters, including weird combinations, just because they look fancy.

Also, you will find a lot of English words in use, often improperly, because using English (and sometimes French) looks chic. On several stores you will see "SALE" or "50% OFF" (verbatim) instead of the Portuguese equivalent. And around here, the term "Shopping Center" (also verbatim) has been used for several decades for malls, again because in the beginning it sounded chic when the first one was opened in the 1960s.


This one is near where I live in Sao Paulo.

Several english words have become the de-facto (if not vocabulary) standard, especially on technology and IT. I am OK with that, but uses such as the "OFF" and "SALE" above are ridiculous, IMO, even though I am not xenophobic language wise.

So...what do me make of this "marketing English":



I understand the axis and I understand the straight correlation line: touch speed corresponds to note loudness and timbre (loudness and timbre going hand in hand).

So, how am I supposed to play outside the correlation line?

How am I supposed to play a fast ppp? Or a slow fff?

How am I supposed to reach "Deep Solid" and "Light"?

I know the "image is for illustration purposes only" but what is it supposed to illustrate?

I understand the need for ‘Deep Solid’; I don’t believe anyone likes ‘Shallow Flaccid’, but who needs the ‘Warm Mellow’ when there’s always Sh*t?

And by the way, how dare they not throw in a shade of gray. Do they think we’re all happy and normal?

The “Well-Balanced Rich”, does it also work for the poor, I ask?


P.S.

I must say, this graph is highly scientific. Kudos to Yamaha!

I think they mean the various depths/regions of pressing the keys. For instance you can play a trill near the bottom, i.e. without releasing the keys fully which is covered by the triple sensors. However the hammer may accelerate too much bouncing between the key and the cushioning. Thus we have high velocities but shallow travel. On a real piano that won’t happen because of the backcheck. But on a digital the regular velocity detection can’t distinguish between a high velocity full-length strike and this shallow depth high velocity strike that happens due to excessive momentum gathered through repetition. Same with partial presses, etc. I think they model how a real hammer would behave depending on how deep, and where across the key travel, the keys are being pressed. I might be wrong but that’s my understanding.

Assuming you are right I assume it makes sense. 🙂

I was thinking about impulse as the physical theory in piano playing and a shorter impulse (with the same force applied) does of course transfer less energy as in the case of a shallower key travel.

So fast + long travel and fast + short travel could yield different results.

“ where across the key travel, the keys are being pressed.”

Un fortunately, with 3 sensors, the piano only knows if the key has been hit above the first sensor or below. (below the second it can’t time a velocity).

Then it is a binary situation. Not a continuous like the Yamaha's diagram.

I am not really convinced by the explanation of Yamaha since a fff is synonymous of fast touch speed. If the acceleration has been introduced (with the timing of sensor 1 / sensor 2 and afterward sensor 2 / sensor 3), it would be clearer, but it is not the case.

I understand what CG is getting at, but assuming this is the case, the physical (punching-bag) effect is still there. So I wonder how our brains/fingers would interpret the contrast between the real physical (punching-bag) act and the simulated (modeled) result.

Let’s assume that it ‘tricks’ our brain well enough not to notice the occurring physical reality, I’m not sure I’d feel ‘comfortable’ with so much trickery (at that price-point), so yes, I’m sticking with the AvantGrand!

Silly rabbits! That diagram has nothing to do with pianos! It's all about the variety of coffee blends.

I usually prefer Warm Mellow. But sometimes I order a cup of Well-Balanced Rich.

For me personally it’s definitely a major thing with an inbuilt usb audio device. Not having to have extra stuff around the piano is great. I can just plug in my iPad and use the apps I want with no hassle. If I upgrade to a hybrid I will go with the one that has an audio device I.e NU1X or N1X right now.

According to the MIDI implementation chart, it shows that key acceleration has been implemented (see the last page):
https://europe.yamaha.com/files/download/other_assets/4/1342334/clp785_en_mr_a0.pdf

In the manual, it also states that the Grand Expression Modeling feature is only available for the CFX and Bösendorfer voices, so it appears that this feature is not available for all the piano sounds.

Thanks for the share about the acceleration. It appears clearer like this.

There are two ways to implement it : signal processing or blending other samples (high acceleration samples/low acceleration samples). The second option could explain the restriction to CFX and Bösendorfer.

That’s a really interesting discovery!

Even if you have only three sensors, you can measure acceleration which is the speed difference between S1-S2 and S2-S3 speed. This can be used to create a model of key travel regions and key press depths. I’m wondering if they also increased the number of sensors.

This could be translated into a more efficient midi controller for the Clp700 range? Or this is restricted to the internal samples ?