- Specialized Grand Piano Action with Ivorite™
- Spatial Acoustic Sampling
- Spatial Acoustic Speaker System
- Soundboard Resonator
- Tactile Response System
- Specialized Grand Piano Pedal
With a design embodying the latest in technology, Yamaha signals a new direction for the piano. This, our flagship model, is the ultimate expression of "Innovation with soul." A keyboard and pedals indistinguishable from those of a grand piano. Stunningly authentic tactile response. Speakers with the authority and presence to deliver flawless sound... The AvantGrand N3 weaves advanced technology into an extraordinary design that gives form to Yamaha's aspirations for the future.
Specialized Grand Piano Action and Piano Keyboard
The nuanced touch and response of the grand piano are an essential standard yardstick for piano quality. It offers the player a specially-developed grand piano action that features the same configuration as the action of a real grand. The hammers strike ...
Specialized Grand Piano Action and Piano Keyboard
The nuanced touch and response of the grand piano are an essential standard yardstick for piano quality. It offers the player a specially-developed grand piano action that features the same configuration as the action of a real grand. The hammers strike the "strings" from underneath, allowing minute adjustments to the weight distribution of the hammers, and to the movement of the hammers themselves, for a smoother feel when playing. In addition to a hammer sensor, this instrument employs a non-contact key sensor that has no effect on the movement of the keys, affording excellent recognition of the player's pressure on the keyboard, timing, and the other delicate nuances that affect musical expression. This combination provides an impressive sensitivity for the entire range from pianissimo through to fortissimo, and the ability to translate even the swiftest trills of the pianist with transparency. The wood construction of the keyboard mirrors that of the grand piano, and features New Ivory II on the white keys. This is a unique material developed by Yamaha, with a texture superbly close to that of natural ivory, allowing you to play swift passages with ease while also offering a sure response for slower pieces.
Spatial Acoustic Sampling
Together with a variety of piano sounds, this instrument features samples of the actual vibrations from within the soundboard of the instrument. To permit the sound to travel well to the player's position, as it does with a grand piano, we sampled the sound from four locations in the left, right, center, and rear of a grand piano. Sampling from deeper inside the instrument, we were able reproduce the attraction of the original sound almost perfectly. It was the experience of our engineers, and a reiterative cycle of trial and error conducted with piano tuners that made this success possible. And of course, the samples in this instrument are all taken from a specially-selected example of Yamaha's CFIIIS full concert grand piano.
Spatial Acoustic Speaker System
Opening the lid of the instrument reveals 4 speakers in an impressive and attractive layout. This instrument utilizes a four-channel multi-speaker system, designed in a three-way configuration with the bass woofer pointed down and the treble cones facing up, to allow more natural reverberation in the soundboard. Each of the speakers in this layout is equipped with its own dedicated amplifier, a luxury that reduces the interference in each pitch range and offers more natural expression to the delicate nuances in each sound. Moreover, by using speaker positioning that mimics the positions in the grand piano from which the original samples were taken, it offers a more natural sound to the pianist.
In addition to the four-channel multi-speakers, the N3 also features a flat-panel "Soundboard Resonator" where the music rest would be when laid flat, allowing a more subtle reproduction of the buildup of sound felt by pianists when playing a grand piano. An oscillator called a "transducer" transmits vibration to the flat-panel soundboard, giving a realistic sound response that is especially evident in the higher range.
Tactile Response System (TRS)
The sound of an acoustic piano resonates throughout its entire body. The bass range in particular is an essential part of the reverberation that is continually transmitted to a player's body. This is replicated by our newly-developed Tactile Response System (TRS) that focuses on reproducing reverberation. This system features two transducers in the soundboard, the area underneath the keyboard, resonating natural reverberation throughout the entire instrument. The player's hands on the keyboard transmit the natural sound felt from the feet as they depress the pedals; the epitome of real piano playing. This system can be turned on and off, and the vibration set to one of three levels.
Specialized Grand Piano Pedal
Light to the touch at first, subtle firmness partway through its travel, and lightening again as the player pushes further; the pedals of the grand piano have subtly different stages than can be felt when the pedal is depressed. Skilled players take advantage of these pedal movements by using extremely delicate pedaling that allows them to achieve finely nuanced expression in their play. In developing this instrument, we set out to reproduce the sensations of a grand piano's pedals as faithfully as possible. The resulting pedal allows for music as you believe it should sound, equally responsive for more impressionistic pieces that require a lot of half-pedaling.
Audio & Video
Peter Baartmans presents the Avant Grand
The AvantGrand is the best practice piano for any pianist,
something never before achieved with a Digital piano.
My history with the piano began when I was about three and a half years old. I started by playing with one finger on a piano bought for my sister. Much later I entered the Paris Conservatoire, and even now, I still sit at the piano every day, and devote myself to hours of concentrated practice. Piano practice takes an extremely long time, but has absolutely no meaning if you don't practice with the correct technique. Likewise, I think that it is also important to choose a good piano. And from that standpoint, I believe that this instrument is an appropriate choice. This time I chose to play Gottschalk's "Banjo", one of the most technically demanding pieces in my repertoire, along with other pieces by Chopin and Schumann that require a rich, profound expressive ability. The fact that I was willing to attempt such pieces on this piano should give you an understanding of just how capable an instrument it is. Of course the action and the touch of the keyboard are both good, but I was very surprised by the depth of its pedaling. It responds well to subtle changes when depressing and releasing the pedals. Of course, the sound quality of the instrument almost go without saying.
You can discern exactly where the sound is coming from for the entire range from bass right through to treble, just as you can in a grand piano. The design itself is elegant, and lets you feel the sound; a "musical" design if you will. This piano possesses qualities not present in any digital piano thus far, and it would be no exaggeration to say that it has in itself created a new genre of pianos. I would like to advise all of you studying the piano, please, try to play an excellent instrument, and don't waste your time practicing the wrong way.
I firmly believe that playing the piano is an artistic act that lifts the spirits of all those who hear you; and an act made possible by the communicative abilities of us as human beings. I think that when I play the piano in front of an audience, more than demonstrating technical perfection, I am communicating with those watching and listening, in a musical, artistic way. For me, the piano is an irreplaceable partner. Music is like my wife, and the pianos my girlfriends. I believe that the piano can become your lover too.
Cyprien Katsaris Profile
Cyprien Katsaris, the French-Cypriot pianist and composer, was born in Marseilles in 1951. He first began to play the piano in Cameroon...Read More
Cyprien Katsaris, the French-Cypriot pianist and composer, was born in Marseilles in 1951. He first began to play the piano in Cameroon where he spent his childhood, at the age of four, with Marie-Gabrielle Louwerse.
A graduate of the Paris Conservatoire where he studied piano with Aline van Barentzen, Monique de la Bruchollerie, and chamber music with Rene Leroy and Jean Hubeau, he won the International Young Interpreters Rostrum-Unesco (Bratislava 1977), the First Prize in the International Cziffra Competition (Versailles 1974) and he was the only western-European prize-winner at the 1972 Queen Elisabeth of Belgium International Competition.
His major international career includes performances with the world's greatest orchestras: The Berlin Philharmonic, Staatskapelle Dresden, The Leipzig Gewandhaus Orchestra, Cleveland Orchestra, The Royal Concertgebouw Orchestra Amsterdam, The Philharmonia (London), The NHK Symphony Orchestra (Tokyo), Moscow Philharmonic Orchestra... He has collaborated with conductors such as Leonard Bernstein, Kurt Masur, Myung Whun Chung, Sir Simon Rattle, Mstslav Rostropovich, Charles Dutoit, Nikolaus Harnoncourt, Christoph von Dohnanyi… and Karl Munchinger, who on the festive occasion of his farewell concert in 1986, with the Stuttgart Chamber Orchestra, personally invited Mr. Katsaris to perform the Haydn D major Concerto.
Mr. Katsaris has recorded extensively for Teldec (Grand Prix du Disque Frederic Chopin, Warsaw 1985; Grand Prix du Disque Franz Liszt, Budapest 1984 and 1989; British Music Retailer's Association's Award 1986; Record of the Year 1984, Germany, for the 9th Symphony of Beethoven/Liszt), Sony Classical, EMI, Deutsche Grammophon, BMG-RCA, Decca, Pavane, and now on his own label, PIANO 21.
In addition to the standard repertory, such as the complete Concertos by Mozart, recorded live and performed in Salzburg and Vienna with Yoon K. Lee and the Salzburger Kammerphilharmonie, he has revived long lost works such as the Liszt/Tchaikovsky's Concerto in the Hungarian style which he has recorded with Eugene Ormandy and the Philadelphia Orchestra.
In 1992, the Japanese NHK TV produced with Cyprien Katsaris a thirteen-program series on Frederic Chopin which included masterclasses and his own performance. On 17 October 1999, the New York concertgoers offered Mr. Katsaris a standing-ovation in Carnegie Hall for his recital dedicated to Frederic Chopin, performed on the day of his 150th death Anniversary.
He has been a member of the jury of the following International Competitions: Chopin (Warsaw 1990), Liszt (Utrecht 1996), Vendome Prize (Paris 2000), Marguerite Long-Jacques Thibaud Ville de Paris (2001) and Beethoven (Bonn 2005).
Appointed in 1977 Artistic Director of the International Festival of Echternach in Luxembourg, Cyprien Katsaris is "Knight of Merit of Cameroon" (1977), "Artist of Unesco for Peace" (1997), "Knight of the Order of Arts and Letters" (France 2000). He also received the "Vermeil Medal of the City of Paris" (2001).
In March 2006 Cyprien Katsaris was the first pianist ever to give masterclasses in Franz Liszt's house in Weimar since Liszt, who taught there for the very last time in 1886, the year of his death.
The AvantGrand offers broader horizons for the piano and the pianist.
To be honest, when I first saw the AvantGrand in Hamamatsu I didn't really have any great expectations for the instrument. I just thought... "OK, so they've released another digital piano." That changed completely when I actually played it - I could see that this was something very special.
It possesses enough potential to be called a real piano. The touch, the sound... even though it's a digital piano it actually feels closer to a grand piano; that is, you can really feel a connection to it as an instrument.
A key aspect of playing the piano is that getting the sound you desire requires a certain amount of practice.
To put it another way, with practice, the piano allows you to create a certain level of expression.
This is just my personal opinion, but generally speaking, acoustic instruments are destined to have individual differences, and, for pianists the first piano they encounter will affect them significantly.
That's why I would suggest that this piano, with its fixed, constant standards, might be a better choice when starting out than an acoustic grand piano in anything but perfect condition. I believe the AvantGrand just has that much potential for performance. The fact that such an instrument has emerged means that more people will be blessed with the chance to play the piano. The AvantGrand offers the pianist a truly broader canvas...
With a piano, there are always the concerns of where to put it, its surrounding environment, and the instrument's expressive capabilities as a piano. I hope that when this piano is released to the world and especially to my home city of Moscow, more people will be lucky enough to take the opportunity to experience the piano. Since my father was a piano teacher, I began to learn the piano at the age of five. And before I knew it, it had become a part of my life. I really began to take it seriously when I was about seventeen.
It's no exaggeration to say that becoming a pianist was a true gift from god, but I chose to play for much more than just this gift. Playing the piano well is not like a game; it is not something that offers you quick results. Even so, I believe that any rewards gained become an invaluable part of your life. This is not so much performing on stage but sitting at your piano by yourself at home. Even now, I think that such moments are when I am happiest.
Alexander Kobrin Profile
In June 2005, Alexander Kobrin was awarded the prestigious Nancy Lee and Perry R. Bass Gold Medal at the Twelfth Van Cliburn International Piano...Read More
In June 2005, Alexander Kobrin was awarded the prestigious Nancy Lee and Perry R. Bass Gold Medal at the Twelfth Van Cliburn International Piano Competition. Immediately following this announcement, Kobrin began his first tour to the United States including recitals at Bass Hall for the Cliburn Series, the Washington Performing Arts Society, and further debuts at La Roque d’Antheron, Ravinia Festival, Beethoven Easter Festival, Hannover Prize Winners Series, Turner Sims and at the renowned Klavier-Festival Ruhr. This season, Kobrin returns to the United States for a following fifty-date tour.
Last season, Kobrin made his debut with the New York Philharmonic at both Avery Fisher Hall and for the inaugural concert of the Bethel Woods Arts Centre. He was also invited to open the 06/07 season concerts with both Dallas Symphony Orchestra and Royal Liverpool Philharmonic Orchestra.
Present and forthcoming engagements include debuts with the Deutsches Symphonie Orchester Berlin, Louvre, Wigmore Hall, Esplanade Concert Hall Singapore, Sheung Wan Civic Centre Hong Kong, and recital tours in Italy including Palermo, Verona, Trieste, and Savona. Other appearances worldwide include Aspen Music Festival, Daytona Beach, Nashville Symphony, and his seasonal tour to Japan, the International Chopin Piano Festival in Duszniki Zdroj (opening the Festival), Orchestre de Bretagne, Orchestra Sinfonica di Roma, and an eleven-date tour of the United Kingdom with the Moscow State Symphony Orchestra under the baton of Paval Kogan. In addition, he made his Boston debut in March 2007 giving a recital as part of the prestigious Celebrity Series of Boston.
Born in Moscow in 1980, Alexander Kobrin began piano studies with Professor Tatiana Zelikman at the Gnessin Special Music School when he five. In 2003 he graduated from the Moscow Consevatory, where he studied under the late Professor L. Naumov.
In 1999 he was the winner of the Busoni International Piano Competition in Bolzano, Italy and was awarded the special prize in memory of A. Benedetti Michelangeli. Shortly following, Kobrin was second-prize winner of the 2003 Hamamatsu Competition (with no first prize awarded), which led to tours extensively throughout Europe, Asia, and South America.
Alexander Kobrin has collaborated with leading conductors such as Claus Peter Flor, Michael Christie, Alexander Lazarev, Vasily Petrenko, and James Conlon, and has worked with orchestras including the Orchestra Verdi di Milano, Royal Scottish National Orchestra, Orchestre de la Suisse Romande, Moscow Virtuosi, Moscow State Symphony Orchestra, the Virtuosi of Salzburg Chamber Orchestra, the Osaka and Tokyo Symphony Orchestras, Rio Philharmonic Orchestra, Phoenix Symphony, Seattle Sinfonietta, and the English Chamber Orchestra.
In addition to the Cliburn Competition disc for harmonia mundi which was released in October 2005, Kobrin has recorded two volumes of Essential Chopin for international labels.
Alexander Kobrin also teaches at the Moscow State Gnessins Academy of Music.
The AvantGrand – a hybrid piano with a grand piano action
that transforms emotions into sound
The piano is my life. It allows me to express myself, to improve myself, to gain a sense of who I am… That's why I feel empty when I'm not playing. It's not that I live solely for playing the piano, but more that it provides the most important measure of how I live my life.
Music is wonderful. I believe it has a tremendous amount of power. It would be a great thing if the AvantGrand introduced more people to the joy of music.
Initially I thought that the AvantGrand was just going to be another advanced digital keyboard, but when I tried it I was astonished to find that it had a real grand piano action. It feels very natural to the touch. The mild click when you push a key halfway, the aftertouch… whether you play lightly, or with more force to get a deeper sound, the instrument responds with a range of sound that suit the way you play it.
I chose to play the second movement from Beethoven Piano Sonata No.8 in C minor, opus.13, "Pathetique", which requires a broad range of tonal expression. The AvantGrand offers this naturally, because it contains the same action as a grand piano. The acoustics change depending on how you use the pedals, which means that playing this instrument is a very natural experience.
The AvantGrand is small, but it still allows you to alter sound through touch, just as you would with an acoustic grand piano. Its sonic palette covers not just the dynamics from fortissimo to pianissimo, but also extends to warm sounds and brilliant tones that allow you a considerable depth of emotion – this is an instrument that constantly challenges you to play it like an acoustic grand. Of course, this applies to more than just classical music - I'm sure that the AvantGrand would feel just as good playing popular music or jazz. I think that taking this piano to its limits could expand the player’s horizons significantly.
With the guaranteed stability of its touch and sound, the AvantGrand is also a wonderful instrument for those who plan to take up the piano in the future.
Ikuyo Nakamichi Profile
Ikuyo Nakamichi began learning the piano at age four, and came to the attention of the public when she took first place at the 51st Music Competition of Japan ...Read More
Ikuyo Nakamichi began learning the piano at age four, and came to the attention of the public when she took first place at the 51st Music Competition of Japan while in her first year at the Toho Gakuen School of Music. After becoming the recipient of many awards, she made her real debut in Europe and Japan in 1987. Critically acclaimed for her warm tone, lyricism, and sense for music, Nakamichi’s popularity and ability place her at the forefront of pianist representing Japan.
In addition to her appearances with major Japanese orchestras, she often shares the stage with orchestras from other countries. Nakamichi gives recitals in many different regions. Since 1997, she has twice held a series of "Complete Beethoven Piano Sonatas" that were hailed for their musicality and for her sincerity towards the music, establishing a name for herself as "Beethoven performer - Ikuyo Nakamichi."
She is currently working on a variety of projects that are sure to receive a great deal of attention, such as "Chopin's Keyboard Mysteries," a project depicting the composer’s life through images and stories, as well as a complete Mozart piano sonata series.
Nakamichi has an exclusive recording contract with BMG Japan, and has released numerous CDs. In 2007, her recordings of Beethoven piano sonatas 30, 31, and 32 earned her the 45th Record Academy Award (Instrumental Division). As a writer, Nakamichi has published a DVD book entitled "Blissful Piano – to play, to listen, to enjoy" (Kodansha), and the "Learning about Famous Pianos and Piano Music" compilation (Natsumesha), among others.
Official Ikuyo Nakamichi Website
Legendary jazz pianist Chick Corea recently took Yamaha's newly launched
AvantGrand N3 hybrid piano for a test drive.
Initially skeptical about the world's first stringless piano to feature the sound, touch and action of a concert grand, the 67-year-old jazz superstar was quickly won over.
"My standard of comparison is the Yamaha CFIIIS concert grand piano with a gorgeous, beautiful sound, so I was a little apprehensive when I first saw the AvantGrand," says the Yamaha Artist, who was recently named JazzTimes' 2008 Artist of the Year.
"I thought, 'look at this little thing, what's it going to do?' It blew me away," recalls Corea. "I sat down and adjusted the volume to make it sound like a big piano and immediately went into reverence at the R&D department and how they pulled it off, because it's quite an accomplishment."
"Once I started playing the AvantGrand and getting into the musical flow of it, I could lose myself in the music just like I like to do. I could certainly envision using this instrument in my louder bands, my electric bands."
Chick Corea Profile
Considering the staggering volume of his recorded output over the past 40 years, it is no overstatement to call Chick Corea one of the most prolific composers ...Read More
Considering the staggering volume of his recorded output over the past 40 years, it is no overstatement to call Chick Corea one of the most prolific composers of the second half of the 20th century. From avant-garde to bebop, from children's songs to straight-ahead, from hard-hitting fusion to heady forays into classical, Chick has touched an astonishing number of musical bases in his illustrious career while maintaining a standard of excellence that is simply uncanny.
Chick was studying piano by age four and enjoyed a childhood home filled with the sounds of Charlie Parker, Dizzy Gillespie, Bud Powell, Lester Young and Horace Silver -- not to mention the likes of Beethoven and Mozart, who inspired Chick's compositional instincts.
In the early 1960s, he went to work with Blue Mitchell, trumpeter. This relationship opened opportunities for Chick to work with Willie Bobo, Herbie Mann, and others instilling his love of Latin music. In the mid-‘60s Chick accompanied Sarah Vaughan, then joined the Miles Davis Band on electric keyboard - this proved to be a turning point in Chick's career. Over the next two decades Chick founded two bands, Return to Forever and Elektric Band, and with Ron Moss formed Stretch Records. In the late 90s, Ron Moss produced a 5 disc box-set of Chick's selected work from 1964-1996. By the time he formed the Chick Corea New Trio, 11 Grammys had been awarded to this icon. To date he's been nominated for 50 and won 14. In 2005 Chick was honored with the prestigious Award for the Piano Festival Ruhr in Germany, the first time the honor was granted to a jazz pianist; and in 2006, he became an NEA Jazz Master, the highest honor the U.S. bestows on jazz musicians.
October 7, 2010
AvantGrand was reviewed on Keyboard Magazine's web site.
“Keyboard Magazine” tried AvantGrand, and they updated a review on their web site.
Please check it out!
May 11, 2010
YAMAHA AVANTGRAND ACCOMPANIES MARC ALMOND ON 30TH ANNIVERSARY TOUR
Yamaha's extraordinary new AvantGrand 'Hybrid' piano is taking centre stage on the multifaceted Marc Almond's 30th Anniversary European tour that includes 20 UK dates.
Almond, who is celebrating a 30 year career during which he has sold 30 million records, is relying on an N3 AvantGrand for accompaniment, played by his long-term pianist and musical arranger Martin Watkins.
Many people know Marc Almond because of his band, Soft Cell, whose hits such as Tainted Love or Say Hello, Wave Goodbye conquered the charts in the late 1980s and early 1990s. However, Almond is also a very successful solo performer with ten solo albums to his credit and during the course of his career has collaborated with many renowned artists and bands such as Nick Cave, Bronski Beat, Matt Johnson and Jools Holland, proving his musical versatility time and again. Marc is currently working on Variete, his eleventh studio album.
As well as being admired and played by some of the worlds most respected and acclaimed classical, jazz and contemporary piano artists, Yamaha's AvantGrand hybrid pianos are increasingly becoming the choice of renowned piano accompanists like Martin Watkins who stated, “The AvantGrand has an amazingly natural feel. The keys and pedals give precise feedback to the person playing, which sets the stage for an emotional, versatile and lively playing experience like a large grand piano would deliver.”
January 20, 2010
TOP ARTISTS PRAISE WORLD CLASS PERFORMANCES OF
YAMAHA'S NEW AVANTGRAND 'HYBRID' PIANO
A trio of internationally respected and acclaimed musicians from contrasting musical fields have embraced the remarkable musical performance capabilities of Yamaha's new AvantGrand hybrid pianos.
Artur Pizarro, one of the world's most highly renowned concert pianists is joined by jazz legend, composer and bandleader Julian Joseph and Paul Carrack, one of the UK's most popular musicians, in endorsing the musicality and versatility of the instrument.
Paul Carrack, who is currently touring the UK to sell-out audiences promoting his new album I Know That Name selected the AvantGrand N2 for all his live shows, whilst Julian Joseph requested an N3 both for the world launch of his Shadowball Opera in November, and for his recent Samuel Coleridge Taylor recitals at the British Library.
Launched earlier this year to huge enthusiasm from media, piano professionals, musicians and the European Piano Teachers Association, the extraordinary new hybrid instrument opened a new chapter in piano development and design and marked a new era in the history of the traditional pianoforte.
The hybrid nature of the piano is a result of combining a traditional concert grand piano keyboard action – complete with hammers – with some of the world's most advanced sampling technology, developed specially for the AvantGrand.
Paul Carrack, one of the UK's most critically acclaimed popular musicians and vocalists expands on his passion for the instrument, "At last, a touring piano that feels like a real instrument! Leaving aside the wonderful deep, rich sound, the AvantGrand has an incredible touch response that actually feels like an acoustic instrument. It's excellent in all respects and absolutely not a compromise option – as would be the case with a standard digital piano. It really is superb."
All three artists are keen to point out that, in their professional opinion, the AvantGrand is the first non-acoustic instrument to create a physical and emotional relationship with the player, offering a true acoustic piano experience. The newly developed tactile Response System transmits 'string' vibrations through the keyboard action to the player's hands. To a serious and accomplished pianist, feeling these vibrations is integral to the playing process.
Julian Joseph comments, “The AvantGrand is a new type of piano, designed to provide a high quality instrument that works well in an essentially acoustic environment. The keyboard action is even and weighted exactly like an acoustic piano, and it's an instrument one can work with confidently to achieve a smooth transition to the concert grand in any situation. Of course, I still love the acoustic piano, but the AvantGrand, with its hybrid of acoustic and digital technologies, is a new genre of piano; it's an instrument sensitive to the musician. Yamaha are innovating and getting it right!”
In addition to the keyboard action, the AvantGrand offers highly detailed and accurate sound, made possible by Yamaha's proprietary and highly advanced sampling capability. This is matched by the superb four-channel, three-way spatial acoustic speaker system, complimented by two sound board resonators that exactly duplicate the non-directional sound dispersion felt and heard by concert pianists.
Artur Pizarro comments on his experience of the AvantGrand " How would you shrink a concert grand piano to fit the space of your average living room?,Design an AvantGrand. How would you recreate the touch and tone quality of a concert grand piano in a baby grand sized piano? Build an AvantGrand. Where do you find a piano that is always in tune and doesn't change tone quality? An AvantGrand. How do you practise on a concert grand quality instrument without bothering your neighbours? Play an AvantGrand and a good pair of headphones! ..
|Height||1,014mm (39-15/16")Lid up : 1,734mm (68-1/4")|
|Weight||Weight||199kg (438lbs., 12oz.)|
|Keyboard||Number of Keys||88|
|Type||Ivorite (white keytops)|
|Pedal||Type||Specialized Grand Piano Pedal|
|Number of Pedals||3|
|Key Cover||Soft-Close Fallboard||Yes|
|Tone Generation||Tone Generating Technology||Spatial Acoustic Sampling|
|Polyphony||Number of Polyphony (Max.)||256|
|Preset||Number of Voices||5|
|Recording||Number of Songs||1|
|Number of Tracks||1|
|Data Capacity||300KB (approx. 30,000 notes)|
|Tempo Range||5 - 500|
|Scale Type||7 types|
Storage and Connectivity
|AUX IN||L/L+R, R|
|AUX OUT||L/L+R, R|
|USB TO DEVICE||Yes|
Amplifiers and Speakers
|Amplifiers||22W x 10 + 30W x 4 + 80W x 2|
|Speakers||(16cm + 13cm + 2.5cm) x 4|
|Power Supply||AC Inlet|
|Preset||Number of Preset Songs||10|
|Keyboard||Keyboard Action||Specialized Grand Piano Action|
Amplifiers and Speakers
|Spatial Acoustic Speaker System||Yes|
|Tactile Response System (TRS)||Yes|