Comparison Casio Celviano AP-270 vs Roland RP-102

The ability to adjust the sensitivity of the digital piano keyboard.

The sensitivity level determines the volume and sharpness of the sound that the instrument will produce at a certain force and speed of pressing the key. High sensitivity allows you to achieve sharp, expressive sound with significant volume differences, low — relatively quiet, soft and smoothed. And some instruments even provide "zero" sensitivity — when all keys sound with the same volume and dynamics, regardless of the pressing force. This can be useful, for example, to imitate the sound of certain instruments (such as the harpsichord).

The number of voices supported by the digital piano — more precisely, the maximum number of voices that the instrument can play at the same time.

This parameter should not be confused with the number of notes that can be played simultaneously on the keyboard. The fact is that in many timbres, several voices (tone generators) are used for each note at once — this is the only way to achieve a more or less reliable sound. Thus, the required number of voices can be many times higher than the number of notes — for example, the simplest chord of 3 notes may require 9 or even 12 voices. In addition, tone generators are used to play auto accompaniment parts and built-in songs (see below), and here the number of voices can already be measured in tens.

In light of all this, polyphony of less than 90 voices is typical mainly for relatively simple and inexpensive instruments that are not designed for complex tasks. The smallest number found in modern digital pianos is 32 voices. It is desirable for a more or less solid instrument to have at least 96 voices, and in top models this figure can reach 256.

The number of built-in sounds provided by the Digital Piano.

Despite the name, digital pianos are extremely rarely designed to imitate the sound of only a piano — the electronic hardware allows them to provide other timbres of sound. In addition, even the piano has its own varieties — for example, among the grand pianos there are 6 main classes, from large concert to miniature. So the built-in sounds can cover different kinds of pianos, as well as other instruments and sound effects.

The abundance and variety of timbres in digital pianos as a whole is not as great as in synthesizers, however, in this category there are very “charged” models, with a hundred timbres or more (in the most multifunctional, this number can exceed 900). However, it is worth specifically looking for a “multi-instrumental” model if you do not intend to be limited to the sound of the piano and would like to have more freedom of choice. It is worth remembering that a specific set of timbres can be different.

If the instrument is bought exclusively as a piano, then here, on the contrary, it is worth paying attention primarily to solutions with a small number of timbres. Such models are not only cheaper than "universals" — they can also sound better (due to the fact that there are few timbres and the manufacturer can carefully approach the sound quality of each built-in "instrument").

The presence of a training mode in the digital piano.

As the name suggests, this mode is designed to teach the game. At the same time, usually, it provides different levels of difficulty — from the most basic, for those who are just starting to master the "keys", to the advanced one, which allows you to train your technique and improve your existing performance skills. However, anyway, the principle of learning is the same: the tool independently tells the student which keys to press at one time or another. Such hints can be in the form of a backlight (see above) or as a graphic on the display. Such a method is doubtful from the point of view of classical academic learning, however, it is undoubtedly more convenient and faster than reading musical notation. Moreover, the instrument can also play the role of an examiner — launch prompts at the original tempo of the melody and check how accurately the student hits the notes.

Also note that the learning mode requires the obligatory presence of a metronome (see below).

The range over which the tempo of the sound played by the instrument can change. It can be either a built-in melody or a part recorded on a sequencer, or an auto accompaniment, a tutorial or a metronome. For more information on all of these features, see the corresponding glossary entries. Here we note that a change in tempo is often required in fact — for example, to speed up an initially "sluggish" accompaniment or slow down a training programme that is difficult to master at the original tempo.

Tempo is traditionally indicated in beats per minute. The classical, "academic" range covers options from 40 bpm ("grave", "very slow") to 208 bpm ("prestissimo", "very fast"), however, in modern digital pianos, the working range of tempos is often significantly wider.

The presence of the chorus effect in the digital piano.

Initially, this effect was developed as an attempt to simulate the choral sound of several instruments of the same type. Even a perfect choir never plays 100% in sync, which is what the creators of the chorus tried to reproduce. This effect works as follows: several copies are taken from the main signal, which are played along with it — but not strictly simultaneously, but with a small (up to 30 ms) delay, selected randomly for each individual signal. This really allows to imitate the effect of polyphony to a certain extent, however, such sound is still far from a full-fledged choir. However, the chorus itself is quite interesting as an additional effect.

— Mini-jack (linear). Any line input is designed to receive an audio signal in analogue format. Such an audio signal can be played back by the instrument itself through the built-in speakers, external speakers or headphones, switched to external equipment (for example, an amplifier or audio receiver), or recorded (if you have a sequencer, see above). In digital pianos, the most popular is the first option — playback; typically, the line-in sound either serves as an accompaniment to the main part or provides additional effects. As for the mini-Jack standard, this is a miniature plug, also called "3.5 mm" and known to many as a standard audio jack on a smartphone, laptop or computer. However, this standard is also very popular in digital pianos — among external signal sources, mini-Jack plugs are generally more common than full-size Jacks.

— Jack (linear). Line input using a Jack type connector (aka "6.35 mm"). In terms of purpose, such an input does not differ from the mini-Jack type input described above. As for the connector, it is almost 2 times larger than the mini-Jack in diameter — however, given the dimensions of digital pianos, this cannot be called a serious drawback. At the same time, the Jack socket provides a better and more reliable connection, with less likelihood of interference. At the same time, for a number of reasons, this type of connector is used somewhat less frequently in digital pianos.

— MIDI in....An input that allows the Digital Piano to receive MIDI signals from external equipment. MIDI is a standard signal format in electronic musical instruments; such a signal (MIDI-event) is created for each keystroke and contains information about the note number, strength, speed and duration of pressing; these signals can then be recorded and/or played back in a specific tone. The ability to receive MIDI events from external devices can be useful, for example, when playing two keyboard instruments at once (to play all the music on one of them, with better sound quality), or to use the digital piano as an adapter for another instrument that does not having the desired tones. In addition, technically, a MIDI signal can be switched to other devices (see "Outputs — MIDI thru").

— USB to device (type A). USB connector that allows you to connect various external devices to the digital piano. However, most often the range of such devices is limited to "flash drives" and other drives. However, even this functionality can provide very extensive additional features: you can play backing melodies from a flash drive, update user timbres and auto-accompaniment styles (see above) or even instrument firmware, and copy materials recorded by a sequencer to a flash drive (or even write music directly). ), etc. Specific features in different models may be different, this point should be clarified separately.

— Card reader. A device for reading memory cards — usually, the popular SD format. By purpose, this function is similar to working with a USB flash drive (see above), adjusted for the fact that memory cards will be convenient primarily when exchanging data with a laptop — almost all modern laptops are equipped with card readers, which cannot be said about desktop PCs.

The number of line outputs provided in the design of the digital piano.

The line output allows you to send the sound from the instrument to external audio equipment. In this case, the sound is transmitted in an analogue format, and to play it, it is enough to pass it through a power amplifier; and active acoustics can generally be connected directly to the line output. The outputs themselves can use different types of connectors, but most often they are 3.5 mm mini-Jack or 6.35 mm Jack, compatible with most audio equipment either directly or through the simplest adapters.

Multiple line outputs allow you to connect multiple signal receivers to the instrument at once — for example, speakers with an amplifier for playback and an external recorder for recording. However, digital pianos rarely have more than 2 line outputs — more, taking into account the specifics of the use of such instruments, is simply not required.

The power of the native acoustics installed in the Digital Piano.

This indicator directly affects the maximum volume that the instrument is able to produce "on its own", without connecting external speakers. At the same time, it is worth noting that many manufacturers go to the trick and indicate in the characteristics not the rated power (rms power when operating at full volume), but the peak power, which is the highest power that the acoustics can deliver at short “ups” of volume. Peak power values can be quite impressive — in the tens and hundreds of watts — but these figures have a very indirect relation to the actual capabilities of the speakers. Therefore, before choosing, it is worth clarifying what kind of power is mentioned in the characteristics. To do this, it is not necessary to look for detailed data on the instrument, it is enough to compare the power of the speakers with the power consumption (see below): if the claimed power of the acoustics is greater than the power consumption of the entire instrument, then the manufacturer indicated exactly the peak value.