You still have to put on the headphone to hear yourself playing, which makes a hell of a difference, and not in a positive way (for me).
Also, the framework with sensors that is shifted between the hammers and the strings to activate the digital part does change the touch of the instrument I think…
No no, I have a decent Yamaha DIGI.
Also, the various places I teach in haff MANY variety of digis, including high end Kawai wiz wooden keyboards.
Brew, it cums down to dis - da parameter of “tone” is non existent. All the sounds are pre recorded. Sure, you can have various dynamics but not timbres.
You’ll associate a nice bright, pre recorded tone with motions that don’t always reflect this.
And bad habits will creep in.
It’s detrimental IMHO to prax on one.
I use it only as a compo tool, and to read thru new rep
Ok, here we go:
2 Likes
I had a decent Yamaha digi too. Thing is, over time it subverts the tactile relationship between the fingers and the sounds that emerge.
3 Likes
Precicely.
Yes. Even a mute keyboard is VASTLY better.
A suggestion for da Brew: hybrids are not particularly cheap. Invest that money in renting a place twice or thrice a week where you can work undisturbedly on a good GP for couple of hours. Surely that most be possible in Paris. I did that in The Hague too - finally I found an old school with a decent Yamaha C3 and they let me practise there in the weekends.
3 Likes
Rezpekkk
Tru. Seconded.
Even with my neighbors being bitches, I can prax on pristine Steinway B’s at ma job or go and rape random ass rebuilt Steinways (in various states of garbagedom) at ma college.
1 Like
Why would a mute piano be better?
The tone point is well made, but you don’t get great tone production on a B1 either, because the action is too shitty/unresponsive. I have very limited options, since I live in a studio appartment and don’t want problems with my neighbours. Also when I finish school and start working again, I’ll only be able to practise at night (so I’d be using the silent with headphones 90% of the time anyway). My options are the B1 silent, the N1X or I continue to not play the piano. The third isn’t an option now that I feel like I’ve overcome my dystonia.
1 Like
I warmed up on something like that backstage before going to unleash da Pimp comp selection…
Decent, actual wooden keyboard tru.
Brew, I understand.
But I would still invest in a decent upright first. So that when you CAN practice, those previous moments are not wasted on a digi.
And get a cheal digi too fo random late nite rape
1 Like
Yeah, any places you can have access to with acousdick 88s?
I’ve looked into this a little, but the few spaces with reasonable (not even decent) grand pianos were way too expensive. It’s also inconvenient to have to travel to practise piano.
Damn!
I suppose I could book sessions in those practise rooms every few weeks or so, to ensure I’m not destroying my touch. I’ll mull it over. I’m planning to try out the N1X next week.
2 Likes
Tru, shoot a vid demo if possible!
Perhaps try schools or churches. Yes, the traveling is inconvenient but so is having to worry about neighbores when you do want to unleash on a real acoustic 88.
1 Like
Did notice digi raped my trills last time I touched an acoustic. Randomly, how much does practice studio time cost? There places doing this in Seattle? I average tops two hours a week of fun style practice - could be reasonable possibly.
I’ll have to look into that. The places I researched were dedicated rehearsal spaces. Hopefully they’d have better maintained instruments than at my school, where apart from the SMDs (which we weren’t allowed to practise on anyway), the only thing the pianos would’ve been any good for was firewood. As such, I did all of my practice at home.
I think that a top level hybrid (like the N1X) would be a better primary practice instrument than an entry-level acoustic (especially an upright). There are probably three main reasons. First, for daily practice purposes, I think the action is the single most important factor; the action of an N1X is a much better action than anything you’ll find on an entry-level acoustic (again, especially an upright). Second, although I agree you won’t be able to do real high-level “soundwork” on a hybrid (including, critically, pedalwork), I don’t think that would necessarily be possible on an entry-level acoustic either. Soundwork and pedalwork are hyper-specific in any event, and will change from instrument to instrument and hall to hall (and also state of hall: empty vs full). Moreover, the single most important factor in soundwork and pedalwork is the development of a good ear: I don’t think an entry-level acoustic will offer any advantages in this respect over a top level hybrid. Third, a hybrid has significant practical advantages over any acoustic (entry-level or otherwise): most importantly, they can be used either with headphones or at a low volume, so you can use them at any time of day without any neighbour issues.
Just my two cents. For perspective, I have both a Steinway B and a Yamaha N2 at home – I actually use the N2 more often (given the times of day that I can usually play), and I find it to be an excellent practice instrument (and I’m thinking of buying another, or maybe waiting for the N2X, for my workplace).
5 Likes
This is interesting. I’m locked into a major metro for work which means unless I catch a lucky scratch ticket and can afford a human sized sound proof place I’ve got to go digi. What you think the best digi on market is right now?
This is what I thought also, I’d rather the hybrid than an entry level silent. Btw, how easy was it for you to get your model B shipped over to London from NYC? I would eventually like to get my piano shipped from Oz, but I have no idea how expensive, and how difficult this might be.
Googling on this. Legit praise for this type of device from a one of the better pianists of both genders from US
1 Like