![]() Garritan sampled their CFX with three multi-mic setups, and those form the basis of the sound variations on offer. And yet it’s also being chosen by jazz musicians, at prestigious festivals and venues including Ronnie Scott’s in London. There’s one in the Sydney Opera House, no less. It’s hand built, the nine-foot model costs upwards of £100,000 $100,000, and plenty of classical virtuosi have been ready to endorse it. ![]() However, that perception is way too simplistic, and the CFX is an entirely different proposition. Certainly the fact that their uprights (not to mention motorbikes!) are everywhere does nothing to position Yamaha as a luxury, premium marque. Yamahas are too often thought of primarily as pop pianos, with a strident and slightly thuggish tone. Steinways are totally different propositions to Bechsteins, as are Bosendorfers to Faziolis, and the cultural and historical baggage that go along with these great names feed our preconceptions about the musical roles for which they’re best suited. For an instrument that is supposedly fairly standardised, it’s remarkable how much real pianos vary from one to another.
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