I’ll be happy to send some studio pics soon. What’s the best way to upload to you?

I mostly play classical and am considering the Roland V, the CP1 and the Kawai MP8ii. I’ve tried all except the CP1.

From your comments and a lot of others on various websites, I’m leaning towards the CP1 but wanted to hear your opinion on the action for the acoustic pianos and more specifically classical music.

Thanks!

I’m the Michael with the Adam speakers… Just a quick note… make sure your WHOLE system is plugged in with balanced cables. From the CP-1 through to the speakers. There will be absolutely NO noise of any kind and the signal quality is higher. Of course, you all knew that!

Michael

By all means please post my comments as you wish! Now, I just HAVE to get back to the CP-1 and play… it’s just that inspiring!

Michael

I just realized that there is another Michael who posted previous to my posts. I just wanted to clarify. I’m the Michael that began posting at March 4th with the Adam speakers… Thanks!

Thanks again, Adrian

It’s been only a few days with the CP-1 and I feel like I’m dreaming! I have been chasing this digital piano experience for many, many years and finally I feel like I have an instrument that far surpasses my expectations. I appreciate your website and reading my lengthy review of the CP-1. This is a milestone!

I must reiterate that in order to experience this effect one must have an excellent monitoring system. Not that the CP-1 needs any enhancement from speakers, but that it relies on the speakers to bring forth it’s glorious, finely articulated subtleties. The speakers should be flat response and the room should not be too reverberant with good acoustics. When I was in the music store they connected the CP-1 to a pair of Yamaha HS80M speakers. I felt there was a bit of coloration in the sound, but the CP-1 “effect” came through for me but on a smaller, distorted scale. It was only when I got the CP-1 home that the shockwave took place in me. I mean I was literally stunned at the extreme realism and subtle control over parameters. (BTW, part of the reason I’m writing this is to give back to Yamaha for this remarkable achievement. If this helps them to continue their fine work, all the better!).

I’m a professional gigging cocktail pianist. I have played on many fine pianos including Steinway, Bechstein, Yamaha, Fazioli, Bosendorfer and I know what a fine piano experience should be like. I have played many, many actions. For example, I was backstage in Toronto at Roy Thomson Hall (Toronto Symphony home). I located the 9 foot Steinway D reserved for concert artists and played it. The action was the best I have EVER encountered on a piano. The responsiveness was incredible. You could practically breath on the keys and get a response of pianississimo.

Now the CP-1 has a most satisfying action. It is neither heavy nor too light. The keys and their shape just feel so good to handle. The action obviously is ‘tuned in’ to the sound generator in such a way as be ultra-responsive. Fast repetitions are amazingly responsive. I found that no matter how soft I played (and I mean ultra slow motion), the CP-1 produced a sound at the bottom of key depression. Which is a good thing considering that playing ultra-soft on a piano is one of the greatest challenges.

The pedals are solid and responsive. The soft pedal is not too overly stated. I really like that. All the cables on the 3 pedals have 3 pin jacks meaning that all 3 pedals have continuous capability.

As I write this I’m just shaking my head in disbelief. I actually almost gave up believing that this could happen. I have a home studio with a Music XPC model S computer, running ProTools with the 003 control surface. As I said earlier, in my studio I use four ADAM P22A’s in quad stereo together with an ADAM sub 10 MK2 subwoofer. In front of me I fill the middle area with 2 ADAM A5’s. As an audio command controller I use the Mackie “Big Knob” Studio Command System. I have two 20 inch computer monitors for the recording software and plug-ins. The piano is situated to my left, and the computer is in front of me. The speaker stereo orientation is that I have front and rear speakers (like in a car). The pair on my left is the left signal and the pair on my right is the right signal. The subwoofer is two feet ahead on the floor positioned to maximize frequency response. On the Mackie there are 3 speaker line outs; A, B, C with corresponding buttons. Each is a stereo out. So my front pair of Adam P22A’s are on output A. Back pair of Adam P22A’s are on output B. And the subwoofer receive a stereo output from C (it sums the signal). This means that when I’m facing the computer, I have the proper stereo orientation but when I turn facing left to play the CP-1 my stereo orientation is wrong. So I built a switch box for the A and B lines (2 DPDT switches) such that it corrects the stereo orientation. By switching on or off the A or B outputs I can have sound only in front of me or also behind me or just behind me. I can turn the subwoofer on or off. Each output has a volume adjustment on the back of the Mackie to fine tune the experience.

My speakers are about 3 feet from my ears. I found that when playing a digital piano that there was a lack of sound energy in the front middle. So, not wanting to spend so much more money on another pair of Adam P22A’s I tried small cheaper speakers such as Fostex. But they added coloration and ruined the subtlety of the experience. Then I put a pair of Adam A5’s (new product) in the middle area, about 2 feet apart. This just completes the sound so well, I feel like I hear a nine foot soundboard in front of me!

Okay, so one must be thinking about all the cost of not only the piano, but the whole speaker system I’m using as well. Maybe thinking why not just buy a real grand piano? But I use the speakers for the studio as well as just plain listening to music. I can practice on the CP-1 anytime without disturbing anyone (I use AKG K240df headphones). I can turn up the volume to any level. I can combine the acoustic grand sound with electric sounds (the other sounds on the CP-1 are also INCREDIBLE). It will never need tuning!
One concern I have is regarding the action… Will the CP-1 ever need regulating? Will the keyboard ever fail me? What is the lifespan of these keys I wonder? I believe there is no aftertouch built into this action at all, correct? I can record the MIDI output anytime. I can input MIDI from my computer and listen to this glorious realism.

The CP-1 is about getting things right. Really right. It’s QUALITY sound I have not heard from any other digital instrument to date. I tried the roland V-piano. The RD700sx. And many others. They all lack an intense acoustic, sonic clarity that the CP-1 delivers. The pianos focus on Yamaha’s sound and it’s a fantastic piano. Yes, the Steinway has that darker, rich character and the Bosendorfer has a sparkle etc., but the Yamaha’s in the CP-1 are a commanding piano experience, truer to the real Yamaha concert grand sound than on any other Yamaha product. I noticed that the CP-1 is better in sound than the Motif. I directly compared it with the S90sx in my studio. The S90sx has a newly sample S6 piano, but it pales in comparison to the CP-1 S6 piano. Same for the CFIII samples. The CP-1 just has miles more realism, clarity, and responsiveness (I even tried the two keyboards using MIDI and using only the action of the CP-1). I was able to compare the action of the S90xs which is spongier and slower, and plastic feeling (although I like it as well).

I urge everyone to experience the CP-1, but hope you experience it with good speakers. You WILL be amazed. You WILL become a believer. Sell whatever you have to to get this piano (not your children though). Then enter a new realm of piano experience. Wish you all the best! You WON’T be disappointed. I’d love to hear more comments from others. Thanks again Adrian for this wonderful blog!

Michael

All the best,
Adrian

I just bought the CP-1 yesterday! I’m still in shock!!! I was not prepared for the experience. To anyone considering this keyboard, make sure you listen with excellent speakers. In my studio I use four ADAM P22A’s in quad stereo together with an ADAM sub 10 MK2 subwoofer. In front of me I fill the middle area with 2 ADAM A5’s. My speakers are worth about $10,000 Canadian (would you buy a Ferrari and put cheap tires on it?) :)

The CP-1 is the holy grail of digital pianos right now! It is a remarkable achievement! The touch is extremely responsive and just feels nice to the touch. I can finally practice my classical repertoire on this piano. (I used to own a Yamaha C7 grand). Here’s a hint… I tried layering CP-1 with Pianoteq software in order to get cross-string sympathetic vibration. I didn’t want Pianoteq to be very loud at all so as not to muddy up the CP-1 sound. So on Pianoteq I increased the sympathetic vibration effect to the max and lowered the overall volume way down. Now when I play the CP1 I get cross-string resonance (i.e. if I hold down a low octave quietly with the left hand and play staccato notes in the right hand, the right hand notes cause harmonics to sound from the low strings! Just like a real grand piano). I’m planning to layer this with the Yamaha Motif rack module. EVERYBODY buy one today. Sell your house if you have to. This piano DELIVERS far beyond your wildest dreams. I think the CP-1 could qualify as a work of art! I can finally sleep soundly now knowing that such a piano experience awaits me each day! Really, it’s that good. Stunning clarity. Solid sound. Expressive beyond belief.

-Adrian

Thank you so much for this amazing review!
Nimrod

I think the answer is always going to be a proverbial – it depends. It’s a very objective call, and has a lot to do with your experience on an acoustic. In my case, I grew up playing on a Steinway grand, and suffice it to say that no digital piano to date comes close – but I had to contend with close quarters and/or portability, etc, then something like the CP1 would be the best candidate especially today.

What I can say, IMO, is that appears to be the new bar. Shipments are just now arriving in So Cali so I intend to try one out shortly, and I’ll update my post accordingly.

Hope this helps!
-Adrian

Do you think the CP1 could replace an ordinary real piano? My Yamaha C1 is a pile of crap and I can’t afford a C5

thanks

Darren

Thanks for taking the time to stop by and post! I can’t say that I have tried mono with the GX because I’m recording straight into a studio environment, not using it for live performance. But I believe we do have people who are following this thread who are indeed live performers, and perhaps they can comment on any phase issues.

Cheers,
Adrian

thanks for the nice homepage.
One question concerning the MIDI-capability of the RD-700 GX.
Is there a possiblity to use the original multi-effects when playing the RD via an external MIDI-sequencer?

Thanks a lot!
Michael.

That said, I think the ability to tweak the electric pianos may alone make this instrument worth the effort for a live gig with Rhodes and Wurlis and even acoustic models. As far as authenticity to a real acoustic piano action, the MP8 may yet still have the edge. Anyone who needs more proof of that should try looking on Ebay for a used MP8. They’ll find they are exceedingly rare for that reason alone.

Also, on a side note: Kawai is apparently coming up with new digital pianos in the next few months. Hopefully they’ll address the issues with the MP8-II action as well as some of the sounds. 2010 is shaping up to be an incredible year for pianos.

By the way, thank you for the other excellent thread on the RD700GX.

I’ve been in a quandary until just recently as to what ONE keyboard I can use for my live performances. I do mostly senior venues, private parties, and really low-volume stuff. I was so hot on the 700GX until I learned how heavy it is! The 300GX looked like a nice alternative and sounds great, but then I had to consider the length of these machines with the wheels at the end of 88 notes! Then, all of a sudden, Roland comes out with this lighter weight, 76-key board which should be available next month… VR700. It is piano, synth and drawbar organ all in one. I am selling my Roland RD-170, Korg Triton, and Korg CX-3 for this! Can’t wait to get it, wish me luck!

It’s what I’ve been waiting for.. Wooden Keys and Yamaha Sounds.

I’m leaning toward the CP5 for money reasons.

cheers

I know the store model are heavily used by all kinds of nasty fingers…but…over time ?

The one thing that is holding me back on the Roland is the key surface problem.

I’ve been playing the Rolands @ both my local Roland dealers and each piano has significant surface wear. On a scale from 1-5; I would say the issue is a 4.5. An absolute deal breaker for me. But I don’t like the plastic keys on any digital piano so I’m caught in a pickle. If the Yamaha had an Ivorite or wood key surface I would get the Yamaha because of it’s additional features. But the Yamaha plastic keys are a deal breaker for me.

As per usual the sales guy know nothing and choose to ignore the obvious wear marks on the Roland 700

Let’s see if this thread can run well into 2010 :-)

Peter

But when you take all of the other GX benefits into account (better MIDI, space, arguably better sounds, clearly something designed for performance), I opted to use it and still do. The concept of using the +6 heavy setting doesn’t represent a workaround for me because while that will indeed affect the pressure one must apply to trigger a MIDI message from the key, it doesn’t affect the physical weight of the key (the sensation you feel when you’re playing)… I guess the easier way to explain it is the “feel” you have on a keyboard with the power off, just playing it physically on the keys… When you do this (MP8 vs. GX) the MP8 has a heavier physical action – what you feel between the time your finger hits the key and the point where the MIDI message is triggered – that’s what I was referring to in my original post.

I just happen to believe it’s a trade-off… and to be fair to the GX, I can play at faster speeds with less fatigue on the GX. But I feel I can play more “expressively” on the MP8. I would just never use the MP8 for practicing technique and some of the thread contributors were inquiring from that perspective. When I was using the MP8, I found it equally suitable for practice — today, I jump on the Steinway for scales, etc. Hopefully this clarifies? Of course, I’d welcome opinions to the contrary coz maybe I’m missing something!

Again, appreciate your inputs and encouragement!

-Adrian

Great thread you have going here. Your responses have proved so valuable for so many, my hat off to you. My situation is that I want a stage piano, to save on space, max midi and my top two must haves are action & sound. Regarding action, I want something as close to the real thing as possible. Your top choice seems the MP8, with the 700GX second, were it not for the lighter feel. Steve Rose mentioned bringing the touch level up to heavy + 6 and his problems were solved. I’m wondering if you’ve had a chance to try the heavier touch settings and what your take is any improvement this setting offers to match the weighted feel of the MP8? Thanks

From the GX, Select the EDIT pad (on top of the unit):

next, select Utilities….

next, select Rec Settings…

There, you will see Local Control which defaults to Yes (meaning you have to switch it off for use in the studio world)…

Here’s the kicker… the GX does not save this setting so one must repeat the above every time the GX is power cycled. Not convenient, but guaranteed you’ll memorize the command.

I asked Roland about this and their reason was that the GX is primarily designed for stage/live use – I still don’t like the inability to save your own preferences, but alas, it’s not a perfect world.

Hope this helps!

-Adrian