Am I correct in seeing that while the older MP8 lets the user define the velocity switching point when layering sounds, the newer MP10 does not?

Judging from the manual for the MP10, I'm not even sure that one can define layers except by adding about 8 instruments in the sub section, such as pads and strings and a choir. (See page 38 of the MP10 manual at http://www.kawai.co.jp/worldwide/support/manuals/pdf/MP10_EN_20110718.pdf.)

And the older MP8 let the user create 4 splits\zones. The newer MP10 only offers 2 zones. (See page 41 of the manual.)

These two features together--controlling the velocity split while layering different pianos and setting four zones--let the user refine the sound greatly, yes?

I like the sound and the feel of the MP10. I like that it has the basic amp envelope controls that most dp's don't include. But these changes are disappointing and just unnecessary. To me, they seem to greatly limit the control over the sound. Why release a new instrument and greatly reduce the feature set?

Jake, the MP10 concept is rather different to that of the other MPs. As you're probably aware, the previous models allowed the to split and layer any of the 256 internal sound, however the MP10 provides three (plus one MIDI) sections with distinct sounds in each. Sections can be layered together, however it's not possible to layer sounds in the same section, or assign sounds to different sections.

Note that the original MP10 software did not allow the PIANO/E.PIANO/SUB sections to be split (just the MIDI section) - this functionality was added with a software update, so it's not impossible for features to change.

Just out of curiosity, what kind of functionality (specifically) would you like to be able to achieve with the MP10 that is currently not implemented?

Kind regards,
James
x

Hi. Thanks for reading this.

The ideal would be to have the same functionality as the MP8--the ability to have more zones, to use any or more of the instruments in each zone and layer, and the ability to set the low and high velocity breakpoints for the instrument on each layer. This older arrangement allows the player to create new instruments based on the existing multisample, putting together, for example, a brighter piano at highest velocity for one of the pianos that is less bright at medium velocities. This same arrangement also lets the player layer sine tones that only come in at high velocities to brighten a piano dynamically. (I have no interest in layering strings or creating splits with a bass on the left. My interest, and I suspect that of most people who want an MP10 stage piano, instead of a synth, is instead in being able to shape the sound of the acoustic pianos.)

I do like the sound and feel of the MP10. I'm just disappointed that the new programming has reduced the number of zones to two, reduced which instruments can be layered, and taken away the ability to control the upper and lower velocity limits of each layer.

+1

well, then you need to buy an MP6

but do without the key wood

...and without UPHI

In fairness chaps, the MP10 was created for folks that continually said:

"I love the MP8, but don't need all the extra sounds, zone layering, and other features - just give me your best action and your best pianos, and I'll buy it."

So that's what we did.

James
x

Who were those folks who said that James

In fairness, let's wait for the MP11 or MP12 then

Hmmmm...don't you remember this from a couple of years back?



Seriously though, I believe this is the first time I've encountered someone missing the lost features from the MP8, however I'll ask the chaps overseas about the feedback from their customers.

Cheers,
James
x

Wasn't me

Maybe it was Gyro?

Hahaha - yes it was Gyro. The full quote was:

"I love the MP8, but don't need all the extra sounds, zone layering, and other features - just give me your best action and your best pianos, and I'll buy it. In short, please make it like a Williams with a lovely silver logo that makes the Steinway one look cheap. Then I would find it okay or adequate for playing everything from jazz to demanding concertos. By the way, did I mention my $20,000 upright I have in storage?"

When all else fails we quote Gyro

I agree with James.

MP5 and MP8II were duplicates.
The only difference was the hammer action .

now, it is more correct,

those looking for an excellent Kawai piano and real action wood,
(go to MP10)

those looking for a good Kawai piano with a good hammer action and and greater ability to set the sounds
(MP6 is the perfect compromise)

I don't follow the logic. Why reduce the ability to craft the sounds as the sounds get better and the price gets higher? Editing better sounds would give the player a better final result, yes?

I want a DP that has the millennium III action, 100 layer 24bit sample set, ability to update and replace (3rd party) sample sets, all housed in a beautiful compact, lightweight body that retails for around AU$1000.

I want a DP that has the millennium III action, 100 layer 24bit sample set, ability to update and replace (3rd party) sample sets, all housed in a beautiful compact, lightweight body that retails for around AU$1000.

I want a DP that has the millennium III action, 100 layer 24bit sample set, ability to update and replace (3rd party) sample sets, all housed in a beautiful compact, lightweight body that retails for around AU$1000.

Over to you Kawai.

My point exactly! It seems that MP10 sound tweakability has been (partly) sacrificed in favour of quick live control. I see some people using the MP10 (and also MP8) almost exlusively as a Midi-controller, for use with their piano VSTi's, and then they certainly won't miss anything in the sound department.