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Shinny89, the ability to play whenever you want night and day is invaluable. Some enjoy the privacy that playing with headphones offers most of all.
Thanks Dave for your thoughts.
Originally Posted by supersport
What are you playing now? Is there a possibility to have a digital piano for late night use and the GL 30 for earlier in the day? Most any size piano can get quite loud if you play it loudly.
Hi David, we are moving to a new place where we are settling down finally, which is why I am purchasing a piano to pick it up. However, we won't fit a grand and a DP so that is not an option.
It is annoying to see the list of threads and click on one of them, but find out that just a millisecond before you clicked, an ad popped up and moved the link so that you didn't click on what you thought you clicked on at all.
What about the Facebook group? Is it still active as a means of communication?
Do you mean the PianoWorld Facebook? It was getting a lot of spam and I stopped following it.
Also, tbh, I prefer my anonymity and so the forum model works better for that. (I'm not anonymous on Facebook, and I use it mainly for keeping up with family)
Hello chaps , I wanted to share with you my feedback of the Casio PX-S5000,6000,7000 , as I visited a shop this morning and they had the 7000 available for playing amongst other pianos in the shop. I managed to try the 7000 , an ES920 and a CLP745 for about 30 mn total as the shop was busy . Probably not enough to make a truly factual statement but I have tried these 3 pianos with no pre- judgment , no incentive to sell or buy one of them right now , and of course it’s a personal opinion based on my own preferences and limited by a short trial . Believe or not the most enjoyable piano to play was the Casio . I was not bothered at all with the short pivot key, and it feels really good , fluid and smooth , and repetition speed is by the best of the 3 keyboards I have tested . The CLP comes second , it is very fast as well , but for any reason , it fell at the same time too light but to hard to play on the black notes. I didn’t like the ES920 that much , but the action was familiar as it was a kind of Nord Grand a bit heavier feeling .
After reading some documentation and checking facts , the Casio has only a double sensor and black keys are lighter than white keys which is different from the 2 other pianos ( triple sensors and heavier black keys)
I really wonder if the black keys being lighter is what gives the nice fluidity on the Casio . Maybe , the concept of replicating the difference between black and white keys on a acoustic doesn’t work that well on a non hybrid digital piano, given on a acoustic , after letoff point the hammer disconnect from the keys , so they become lighter , and also if you lift the damper , it is also more lighter ( only Kawai NV10 replicates that) .
Also what I have noticed is that it is a case where double sensor seems better implemented than triple sensor .
Btw , these 3 pianos are good anyway by all means . And fyi I own an old MP11 and a VPC1 with let off simulation removed.
Just for the record, I got myself the LX706 as a MIDI controller and can't be happier so far. I didn't like how it sounded when I tested it before buying but I knew why I was buying it.
On a side note, turns out the issue isn't the pure acoustic modeling since it's quite satisfying through headphones, it's just the way it's implemented through the on-board speakers that puts it down. Same thing if playing VST through the on-board speakers although they're powerful and all..
Funny enough, I don't dislike BT streamed music sounds through the on-board speakers, quite fun to play along some if your favorite songs.
I bought it last summer and I knew new models were due in the short term, now I see the new LX6 I don't regret having bought it the LX706 at a fairly good price at the time since the LX6 wouldn't justify the price difference IMO and especially if you're not much into Roland's piano sound generally.
My 2ct
But would you pay only another £300 to get a lx708 if in my shoes?
If it were me, I would do that. But I know there could be an issue fitting the cabinet into your place since it is a single piece.
Why? The speakers are not up to the LX17 standard and the same action is in the lower model. What is the LX708 giving you except a taller cabinet? You're not using it for internal sounds right?
Better to buy a GP310 and decent monitors---at least you get a decent action and not just an extended PHA50 (OK, but nothing to write home about).
If you're a VST guy, the RD2000 and FP90X are better value, as there is more room for Monitors.. If you must have a lanky PHA50, the LX706 gives you that. Buying monitors for that means you get a decent sound---£300 is a good chunk of money for amplification. But the whole conversation is about upgrading. You're buying a model for inbuilt interface and action only buy wanting to spend £300 extra. Honestly, the LX708 was the worst cabinet piano I tested in 2019---everything about it was not up to the LX17.
Your comments are mostly valid, but the hybrid grand action is not just an extended pha50, it’s a faster action and feels much nicer to play.
I played the Casio gp310 numerous times and I don’t like the action at all when I compare it to the hybrid grand.
Do you think it will die out? Do you think classical music composers will continue on the 12 tones / chance music route? We might experience a huge rebound of music of the common practice period, your thoughts?
The route forged by the Second Viennese School has basically come to a dead end, not to mention aleatoric stuff. These days, contemporary composers use atonality etc when they want to convey certain emotions (like weirdness, or out-of-body experiences ), and in fact the best ones just use it as part of free tonality in their compositions. So, you see a lot of piano scores with zilch in their key signatures, yet it's obvious they aren't in C major or A minor, except (possibly) fleetingly here and there. Some have changes of time signatures every other bar too - or no bar lines altogether.
There is a reason why the public - in the West, at least - crave diatonic tunes and harmonies......is because they stick in our memory and we get pleasure from them, and can even sing them. And they often convey a wide range of emotions to us, not just weirdness....
For instance, can anyone here sing any tune from Berg's Wozzeck?
But everyone can sing this, even though it was composed after Wozzeck, by a fellow Austrian:
These days, a lot of music is composed with the help of AI - probably, a lot of pop 'tunes', probably many so-called 'classical' ones too: you know, the sort that meanders around a few notes and basically goes nowhere. Sonata form - who needs that today? (Who even knows or cares, except a few of us in PC? )
So, that's where we're heading. I've already heard some 'contemporary classical' music in recent years which arouse my suspicion that they were composed with the help of AI. Pretty soon, we can ask AI to churn out nice tunes, like, er, Twinkle, Twinkle as well as atonal and 12-tone stuff and nobody would be the wiser.
So, maybe best to stick to the music that we know is definitely composed by humans with the help of grey cells, not silicon chips.....
I'm serious about the new forum idea. If there is broad support for it, I would be happy to help facilitate. Modern forums can retain the same general feel as forums like this, but providing modern features (for example, the ability to "tag"/mention another person in a post, giving them a notification). You can spin up a brand new forum with everything included for like $60/month or less. The key is whether people would actually migrate, or if it would just further fracture the community.
For completely different reasons, some former members of this forum established a new one a while back: https://pianoclack.com/forum/
I think for long-time PW users, PianoClack will be easier to use than Reddit. But Shawarma_Bees, if you want to start a subreddit, please share the link here and I’ll try it out.
Yes, I agree. I'm used to the reddit format, but it is quite different from a traditional forum. Realistically, I think it would too much of a change for the majority here.
If an alternative forum already exists, then I think that's the answer. I just joined PianoClack and started a new thread for discussing a PianoWorld migration (https://pianoclack.com/forum/d/1388-for-the-pianoworld-migrators). If you haven't yet, please give the forum a try and drop your thoughts on what does or doesn't work in that thread. The piano enthusiast community is small, so I think it's important we're all united, so we don't end up further fractured after a partial migration.
In theory I think when you practice it for a year, every day, you can play the notes and the rhythm, and probably half the speed I think, or at 75% speed. But it will not sound like Rousseau. That is what I think, but maybe I'm wrong.
No, not even that. It's a 10 page long piece so even learning the notes would take a beginner forever. And about the tempo, well, in my edition it's marked Allegro con brio half note=69. Rousseau is actually playing it at about 80% of that, believe it or not (I checked with my metronome). Even at that tempo it's crazy difficult.
When I was a beginner, I would teach myself the notes of difficult pieces for fun, like sections of the second Hungarian Rhapsody, just because I liked the music. It is very possible, and doesn't take forever -- you just need to see the music in terms of patterns and have it in your ear. Even in my very first months, I wasn't thinking in terms of individual notes -- and I don't understand why beginners do this, because they don't have to. Concepts can be learned incredibly fast if you want to. Additionally, someone who has been learning very seriously for close to 2 years isn't a beginner. They could be fairly deep into advanced territory.
Ye that's real, my thought based on my old days experience too. 1 month after my 8th birthday (5 years of piano), I went to my local opera house and heard Scriabin Op8 No12 for the first time. Like... how it's that epic, I didn't understand, my inner urge is just to feel it more, absorb by my own hands. Then what? Insane, 2 weeks of ~10h/d practice (not always serious) to play it somewhat musically & in tempo, ready to perform. And even so, I don't think that's extremely fast. I had big/slender hand in the age group, very flexible digitorum profundus and agile forearm (trained them daily), nice memory, but was no top-tier tutor, and not really a prodigy at that time. Also, 2 years of dedication will truly push them into the advanced section.
Ryupkie liked the tuning from one tech better than another. (not unusual)
What we can guess:
1. about tuning app used by the last tech (or none?) 2. about the ability of the last tech in following the app or aural plan? 3. about the stability of the notes left by the last tech? 4. about the quality of unisons between the two techs? 5. about the temperament set by both techs 6. about the settings/stretch chosen by both techs
Here is something to realize; piano tuning is a puzzle with many solutions. There is a wide-ranging skill set among techs, both aural ear and those that use electronics. There are perhaps 6-10 professional-level electronic tuning devices specific to the piano - each of those will provide slightly different calculations based on the information collected. And that's just using them with the default settings!
So it should be easy to see that there is plenty of variety possible between tunings, and it isn't always clear to know why a player will like one over the other.
Carefully reshaping the hammer and mating it to the strings will get you into the ballpark. Then play on it that way for at least a couple of weeks. Then reassess the situation.
If you are going to check the pinning that will require removing the assembly from the action rail. It will not go back to exactly where it was before which will produce a change that needs to be played in before doing further work.
It is a BIG mistake to start taking voicing measures but ignoring basic first procedures (thus the advice you're given here). Conservative approach is the best.
I'd prefer to pay a reasonably priced subscription and be advert free. I'm finding the adverts really intrusive despite generally using a laptop to access the forum. I could get IMSLP for free, but I prefer to support them - same principle here.
I'll probably move to just using this forum as a reference when I'm desperate and have a particular query rather than participating more fully. I don't and won't be using Facebook or Reddit or any other of the Social Media sites as a point of principle. I didn't realise I had so many principles!
I think it's not about the person that opened this thread, so to prove it they first need to find a very talented person who didn't start playing yet. How are you going to find that person?
Not inspiration. I'm studying in Curtis (1st year), had a gossip, and see that most ppl didn't think Op25 No11 viable in 2 years, even the professors. But I disagreed, I still firmly believe in the ability of human.
Per your PW Profile, you've already put in 24,500 hours on the piano. If true, can YOU play Winter Wind like a pro? If not, that should answer your question.
As for your belief in the "ability of human." That really depends on the human, doesn't it? There might be one in a miliion that could do it.
It's quite easy with me, but I'm talking about a total beginner, and ofc it's not me ;-; I mentioned "talent" in the question, so you can understand that those prodigy, 8h/d counted.
The whole idea thaf only a handful of pianists of a specific period of history were able to play artistically and that now we only have mindless technicians is completely ridiculous. That sort of ideas says more about the intellectual crisis our societies are facing than the reflection of any reality. And worshipping music written hundreds of years ago says also a lot. In the 18th century people wanted to listen to newly composed music and had no issue dropping past composers. We do the opposite as we live in the supposed glory of past times.
So what you are saying is that whereas pianists uphold the same high standard of their predecessors, the rest of society has deteriorated ...
No, the high standards have progressed in all areas of our societies (at least in the western world) and I think we are spoiled by the quality and quantity of excellent pianists we have nowadays. And after all, if the audience was not happy with the way pianists play today and preferred the 1930s way, there is nothing that prevents us from going back to that style. But the reality is, like Bennevis rightly pointed out, that in fact we cant stand the rythmic deviation and that style of playing. We just like to think it was better in the past, not actually go back to it. Just like I dont know of anyone (except a few nuts) that would want to give up our leaving standards and go back to 100 years ago.
Contrary to the people of the 18th century, who in spite of constant wars and major epidemies, maintained a forward looking attitude, we are invaded by pessimism and fear of the future. So in spite of the fact that humanity never knew such a high level of technical mastery and leaving standard, we curiously look at the past as an ideal representative of artistic perfection. That is particularly striking as very often that is the attitude of rather young people. I dont deny that there are plenty of masterpieces from the past in all artistic areas (including the greek and latin world BCE), but what has changed is how WE look at art today, not our artistic ability to produce masterpieces.
From a total beginner to Rousseau's level of Winter Wind is possible within 2 years in your opinion? If yes, what's the requirement? Equipment, Talent, Teachers, Time, etc...
Maybe, but extremely unlikely. I would say the requirements are: - Immense talent (very hard to define what that is, but in any case you'd only know if it was there after the person had been learning for at least a few months). - Frequent lessons with an excellent teacher. - Spending most of every day not just practising the piano, but also learning about music.
), and in fact the best ones just use it as part of free tonality in their compositions. So, you see a lot of piano scores with zilch in their key signatures, yet it's obvious they aren't in C major or A minor, except (possibly) fleetingly here and there. Some have changes of time signatures every other bar too - or no bar lines altogether. 
)