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I simply have to comment on this ‘phenomenon’.

So yes, we are talking about anecdotal evidence, but I still think it’s worth revisiting this because there were plenty of people first insisting that they preferred the sound of the NU1X over the 685 and now, it seems, many are preferring it over the 785. And the one thing that we can all agree on is that the NU1X, in general, is a very-much-loved little machine.

What is it about this piano, with only four puny speakers, that makes it so special?

I speculate that it has to do with the cabinet design, speaker placement, calibration, and some sort of special sauce that Yamaha used for it, but then ran out of that special sauce thereafter. Or perhaps the sauce was spilled, stolen, diluted, or even fired!

I wonder if Yamaha simply fired the group of people (special sauce) in charge of developing the NU1X; this is not unheard of, and I believe Yamaha did it with the CLP-990 developers, too; you’re fired!

Why would they fire the people in charge of such great instruments? Well, it turns out that in order to arrive at something so special production costs need to go up, and Yamaha doesn’t like this because it’s too sweet for us but not for their bottom line.

I say we protest and demand they re-hire the CLP-990 and NU1X developers respectively.

Reminds me of a true story I read about, in history
An Eastern European monarch (dictator) had a renowned architect build him the finest palace.
Had to be the very best! And, no question, it was.
Dictator-Fella was pleased. So pleased he asked Architect the following.
"Could you build another as good as this?"
"Yes, your Excellency! Anytime; where would you like it?" Smiles all round.
He had him killed.

Congrats on your purchase. I've had the NU1X almost 3 years now and have been very happy with it. Not just that but I don't wish for another Piano. If I have to do it all over again I would get another NU1X.

To answer Pete's tongue and cheek comments the NU1X is a unique instrument that fits a niche market and there really isn't anything else like it in that market.

Tongue-in-cheek, the correct term is tongue-in-cheek.

I don't think the NU1X is unique. Perhaps it was a few years ago, but now there an NV5.
Doesn't the NV5 fit in the same niche market?

Luckily in Germany music stores carry ALL instruments. I was able to play them all in a giant music store in Köln.
I actually did also play the NV5. I liked it. I have been a KAWAI fan for the last years.
I started with a VPC1...moved to a CA-58, then CA98, then CA79. Now due to personal circumstances I have to move overseas and had to pick new again and I didn't want the "same" instrument (CA79) although I liked it.
I tried the CA-99 (which I didn't like over its speakers).

The NV5 was nice, too, however since I am purchasing in the U.S. too expensive for me. Besides it wasn't that I tried the NV5 next to the NU1X or CLP-785 and I was like WOW this feels and sounds so much better. It was good... but so was the NU1X, REALLY good somehow. I kind of DIDN'T want to like the NU1X convincing myself that it is "older" technology and sampling compared to the NV5 or even the CLP 785... but what can you do when you like it you like it.... The NV5 didn't justify a price jump (at least for me) since the NU1X somehow made me want to play more and more... it was an interesting experience for myself.
It's gonna be my first Yamaha, so let's see
Moving in a month, piano is already purchased and I am super excited!
Thanks all

Count me in as intrigued by the little engine that could: NU1X!

Aside from the ‘loud note’ debacle, this instrument is a winner; especially since they ‘fixed’ the issue.

Can you believe that some people have even preferred it over the N1X in terms of how the sound reaches/connects with their aching hearts?

This is a phenomenon worthy of further exploration, and I still want to know what it is that makes the NU1X sing because it most certainly cannot be four puny little speakers.

I’ve already set forth the notion that Yamaha might’ve used a ‘special sauce’ that is no longer available (you’re fired), but in reality I just don’t know, and today, I stand before thee intrigued and somewhat baffled by the little engine that could!

Yamaha's CFX is in it's own league up there with S&S, while (Shigeru) Kawai's EX simply is not. The latter is still a great concert grand, but not top league.

"Technology" doesn't change the sample source not being the best of the best. And if you can have the best, why go for second place for the sake of brand loyalty?

I’d say the CFX is better than the “S&S”! IMHO!

Of course, this is if you don’t mind robotics instead of hand-made snobbery, nor do you mind the myth that S&S is the top choice for the -classical- concert hall, nor do you care about the cache and history associated with S&S, and you’d rather pay less for more even if it means a hit to your bragging ego, “I only play hand-made Steinways” implying everything else sucks; and that includes this thing called Jazz and the toys used to perform this ‘make-it-up-as-you-go’ music that has no interest in ppp, fff, allegro ma non troppo*, agitato, nor spending eons on ‘perfecting’ the trill and debating, ad nauseam, whether the ornamentation (trill) should start from the bottom note, or from the top note!


*Allegro Ma non Troppo: to play fast, but not overly so….


First of all, make up your mind and tell me if you want it “fast” or not; I can’t deal with this level of ambiguity.

Second, and most importantly, have we conclusively defined what ‘fast’ represents?

Is there a universal speed for fast?

Fast in relation to what, slow? But then again, have we also defined slow as an absolute and measurable unit?

Or are these terms subjective, and adding things like ‘fast but not so fast’ simply makes it more confusing for the “classical” musician who already has to deal with “Bach is played this way and Beethoven is played that way”.

“Spend 8 hours a day playing exercises to strengthen the fourth and fifth finger”.

“There’s an etude for that” (weak thumb/wrist).

And I can go on and on, but I digress.



P.S.

By the way, I love all music so long as it’s good, and yes, that includes “classical”, so long as it’s devoid of pompous subjectivity passing for objective certainty; incidentally, this is Steinway’s insignia…………

Steinway: “here, at Steinway, we sell you pompous subjectivity passing for objective -hand made- certainty, and you will pay whatever we ask or else.”

°
The Yamaha CFX concert grand piano is completely hand-made. It's simply not viable to facilitate mass-production to make such a low-volume product.

I had the opportunity to play a random Steinway Model B semi-concert grand and compared to everything else I played so far (including Yamaha grands during lessons) , that experience was mesmerizing. So I found out, that the reputation didn't come from nowhere, in Hamburg they really know how to make grand pianos. But you're not anywhere close to Hamburg and don't have access to their showrooms.

However in this thread we compared digital recreations of concert grands and there Yamaha's CFX on the VRM engine (Avant Grand) is the outstanding implementation in my opinion. Even Roland's and Casio's Wannabe-Steinways don't come close.

Points well made and noted, Pete14 🙂

To OP, it isn’t just you since you were / are likely among the many “we’ here who, despite efforts to the contrary, remain somewhat ill-informed enthusiasts er, .... “amateurs” as some say, sniffin for tidbits “specs” on the professional’s ground of trying to reach sound buying decisions from their S&M lingo, puns intended .... maybe its “ it’s not you, its me” ..... perhaps i’m in need of more sensitivity training 😉


“Specs” once upon a time implied specifications , once a fine and suitable word with obvious meaning, but in the present context here seems to be a new speak alternative salesy way of saying “ ambiguous to the extent of not very relevant to prospective buyers” ..... who needs efficiency ..... or sensitivity? ....

Speakers, whether considered in their own market OR wrapped around other markets, such as DPs, often sell largely by way of the buyer’s ignorance coupled to seller’s size, Watts’N marketing fluff and other double-good virtually resonating dementians ..... where sellers & marketers cannot be relied upon to provide even accurate physical dimensions of their wares.


https://forum.pianoworld.com/ubbthre...eaker-specs-are-they-worth-anything.html

Just out of curiosity, what is it with the Kawai SK-EX (the actual piano) that you find inferior to the Yamaha CFX?

Correction: the wrong link was posted in ending the previous post where my intention was further pointing out S&M’s frequent failure to provide accurate physical dimensions as previously noted here —>

http://forum.pianoworld.com/ubbthreads.php/topics/3133869/measuring-driver-diameter.html