Kawai MP11 Stage Piano. Kawai MP11 — the stage piano for music professionals who do not accept compromise.
This is why Kawai has selected the flagship keyboard action for the MP This ensures the weight of each key is distributed evenly throughout the length of the keystick, and guarantees an efficient transfer of movement energy when the note is struck. These unique subtleties influence the release character of piano sounds, providing a greater range of expressive detail between staccato and legato playing.
The structural differences are obvious, but why is wood considered to be desirable in a digital instrument? Wood has been the preferred material for acoustic piano keys for centuries, and was first introduced in Kawai digital pianos over 25 years ago. Yet despite the many improvements to acoustic and digital piano action technologies in recent years, engineers still recognise that wood remains the best material for the keyboard.
Unlike plastics and most other man-made substances, wood possesses unique characteristics that allow it to absorb a degree of movement energy and flex slightly when compressed. This means that when pressing one of the MP11's wooden keys it reaches the cushioned felt keybed with a natural, reassuring stop, rather than a jarring, noisy halt.
Finally, wooden keys are inherently special. The look, feel, and even the smell of wooden keys furnish the MP11 with an organic quality that helps the player to feel an even closer connection with their favourite stage piano. The oscillators can also output wavetable-based waveforms including two types of sine wave. On a conventional digital wavetable-based synthesiser, the waveforms are band-limited before being stored in the table. This is to avoid unwanted aliasing. With the New Oxford Oscillator design there is no need for band limiting; the extreme oversampling means that the aliasing problem is pushed way out of the audible frequency spectrum enabling Peak to utilise mathematically pure waveforms.
The purity of combined and virtual synced waves is also superior because there is no compromise to the waveforms at the point of generation.
Further modulation can be programmed using the mod matrix. This is ideal for drones or using the oscillators as modulation sources. Linear FM Frequency Modulation is also featured, with all three oscillators available as FM paths in both analogue and wavetable modes, and thus capable of cross-modulating each other in a recursive loop. Inherent to the NCO design is pitch stability; Peak will never fall out of tune. But of course, the instabilities of an analogue design have a huge impact on the character of a synth. Warm, rich tones are often the side effect of slightly mis-tuned or fluctuating oscillators.
This creates a convincing analogue feel, if you want it. Synth designers have known for some time that building a large and expansive modulation and control matrix in the analogue domain is costly and impractical.
But there are significant sonic benefits of using analogue control voltage for parameter control, thanks to its smooth, seamless nature. Undesirable steps between parameter values being major side-effects, alongside a delay caused by the processing time involved in traditional DSPs. High-resolution data interpolation, which runs on the FPGA makes sure the sweet spot comes back accurately every time a patch is recalled.
Interpolation ensures smooth transition of all parameters, many of which use Logarithmic control law to ensure they feel naturally musical. Modulation is one of the most important features of any synthesiser. The circuitry consists of 30 discrete components double metalized polypropylene caps, toroid-shaped inductors and more.
Specific filter characteristics vary from model to model. For example, the Extreme filters AC mains harmonics by 3dB at 1. By comparison, the 3dB action of the kicks in at 3. As a rule, the highest capacity filters filter less than the low-capacity filters. The least expensive MiniBlack applies less harmonic filtering than the other models but equals the 's power delivery rating. A resettable thermal switch instead of a more common fuse handles in-rush currents when components are first switched on.
The chassis are made of 4mm thick anodized aluminum.
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The BlackNoise filters are hand-made, rather heavy and cool-looking. The manufacturer gives a five-year warranty on all models. The sound department Why mains filtering? For two oft repeated reasons. The mains contains HF noise and other unwanted components, filtering of which is beneficial to the perceived sound or is thought to be since the listener's ear should be the final judge here.
Second, hifi gear, digital in particular, allegedly pollutes the mains with its own noise which is why decoupling such gear from the rest of the system is considered desirable. The BlackNoise filters carry out both tasks but is their effect truly beneficial?
The answer is affirmative and I could easily finish the review here. The sound changed, I largely welcomed the change and I wouldn't want to go back. What else is possibly required? I know, it's not enough to assert that the sound got better and then not to be prepared to elaborate on how it did so. But to be honest, I'm a little bit fed up with so-called critical listening. If I was asked which one I'd choose, the filtered or unfiltered sound, but wasn't allowed to say the filtered one unless I was able to abstract my evaluation into analytical components, what is that all on about?
It's sometimes perfectly legitimate to have a pro attitude without an attendant epistemic duty to explain what the attitude is based on. Surely it's possible to like a certain landscape without knowing exactly why. My daughter does it all the time.
Anyway, before describing the effect of the filters in more detail, let's consider the magnitude of difference the BlackNoise filters brought about. Was the change in sound similar to the difference between an average and excellent i. Yes, something like that. Naturally, this measure is intelligible only to those who've been in a position to compare tweeters under controlled circumstances. Like the difference between an average recording and an especially good one? The change was not of the same nature nor as obvious - but in a sense equally dramatic. Like the difference in the inner tone color between high-quality tube preamps?
Yes, very much so. In general, the change was not something easily observable by and explainable to non-audiophiles. But for the connoisseurs, that 'extra something' will have to be obvious. Audiophiles have unconscious expectations about how their systems sound.