WEBVTT Kind: captions Language: en 00:00:01.840 --> 00:00:04.076 So I have this digital piano. 00:00:04.076 --> 00:00:05.435 Or keyboard. 00:00:05.435 --> 00:00:08.053 Or whatever, let’s not get hung up on the nomenclature. 00:00:08.053 --> 00:00:10.265 I’ve had it for about 5 years - 00:00:10.265 --> 00:00:15.276 I’m no professional pianist but I do enjoy tickling those synthetic ivories from time to time, 00:00:15.276 --> 00:00:18.705 enough to be bothered by a keyboard without  weighted keys. 00:00:18.705 --> 00:00:22.936 But it also didn’t make sense to spend lots of money on some ultra-lavish thing 00:00:22.936 --> 00:00:26.790 because my level of piano proficiency would waste such an instrument. 00:00:26.790 --> 00:00:28.262 So I got this. 00:00:28.262 --> 00:00:30.512 Hold on, I just  gotta boot it up. 00:00:30.512 --> 00:00:33.310 ♫ Windows XP startup sound ♫ 00:00:33.310 --> 00:00:35.873 That’s right, it’s still No Effort in November, 00:00:35.873 --> 00:00:39.728 and this piana’s gonna learn us a thing or two about user interfaces. 00:00:39.728 --> 00:00:41.134 And then we’ll talk about some other stuff. 00:00:41.680 --> 00:00:45.329 Being the most basic model in Yamaha’s Arius line, 00:00:45.329 --> 00:00:47.198 this model is pretty basic. 00:00:47.198 --> 00:00:49.254 I mean, it’s even got a manual transmission 00:00:49.254 --> 00:00:51.613 as you can see by the presence of the clutch pedal. 00:00:52.400 --> 00:00:53.432 That was a joke. 00:00:53.432 --> 00:00:55.328 Those are just your normal piano pedals. 00:00:55.328 --> 00:00:58.070 Except of course they’re not real, they’re just switches. 00:00:58.070 --> 00:01:00.492 But they’re not binary inputs either. 00:01:00.492 --> 00:01:06.578 And also this piano handles the sustain pedal in a surprisingly wrong way which I’ll show you in a bit. 00:01:06.880 --> 00:01:11.346 But anyway, like most keyboards this thing offers  a fair degree of customizability 00:01:11.346 --> 00:01:15.079 with things like key sensitivity, a slew of reverb options 00:01:15.079 --> 00:01:17.975 (which are annoyingly always on by default) 00:01:17.975 --> 00:01:20.761 different voices so you can  pretend you’re an organist 00:01:20.761 --> 00:01:22.709 or a harpsichordist 00:01:22.709 --> 00:01:24.906 or annoy your friends like this. 00:01:24.906 --> 00:01:30.384 ♫ iPhone Marimba ringtone ♫ 00:01:30.384 --> 00:01:33.850 That voice is a vibraphone and  not a marimba but who’s counting? 00:01:33.850 --> 00:01:37.846 Oh, it also offers a built-in  metronome and some other stuff. 00:01:37.846 --> 00:01:41.742 It’s a pretty fully-featured if on the cheaper  side instrument. 00:01:41.742 --> 00:01:43.173 Look at the controls, though— 00:01:43.173 --> 00:01:47.952 Hi! I’ve now edited the video and while  I kinda thought this would be the case, uh 00:01:47.952 --> 00:01:53.781 I just wanna make sure that you know... Yes, I’m aware you can't see the keyboard at all from where the camera is 00:01:53.781 --> 00:01:56.047 but… remember what month it is. 00:01:56.047 --> 00:01:57.213 So. 00:01:57.213 --> 00:01:59.075 Just keep that in mind. 00:01:59.075 --> 00:02:03.364 — Look at the controls, though, and  you find there basically aren’t any. 00:02:03.840 --> 00:02:06.720 That’s one of the concessions you  make when you buy the cheap one.   00:02:07.280 --> 00:02:10.365 Over here you have a power button and a volume  control - 00:02:10.365 --> 00:02:12.000 an actual potentiometer, even! 00:02:12.640 --> 00:02:14.321 But, uh... 00:02:14.321 --> 00:02:15.298 that’s it. 00:02:15.298 --> 00:02:19.825 Over there you  have a single button labeled Grand Piano Function. 00:02:19.825 --> 00:02:22.065 I’m glad it can at least do that. 00:02:22.065 --> 00:02:24.842 And, uh, well now we’re out of buttons. 00:02:25.280 --> 00:02:26.936 That doesn’t seem like enough. 00:02:27.429 --> 00:02:31.962 Apparently this thing has a bluetooth radio in it because of course it does 00:02:31.962 --> 00:02:36.999 and there’s an app you can download  for your phone to control things because of course there is 00:02:36.999 --> 00:02:38.679 but all I can say to that is 00:02:38.679 --> 00:02:39.979 “gross.” 00:02:39.979 --> 00:02:43.222 Oh but it does have an integrated key cover! 00:02:43.680 --> 00:02:44.596 Fancy! 00:02:46.380 --> 00:02:51.355 I was perplexed by how the heck  I was supposed to control this thing to change is settings, 00:02:51.355 --> 00:02:55.476 but after staring at  it for just a little while I thought 00:02:55.688 --> 00:02:56.868 "oh" [said by a woman's voice coming from the piano] 00:02:56.868 --> 00:03:01.247 That’s right, there’s a whole 88 other buttons  sitting right here! 00:03:01.247 --> 00:03:03.334 They’re just piano-ey. 00:03:03.334 --> 00:03:07.792 Yamaha rather smartly designed this thing an  awful lot like a computer keyboard 00:03:07.792 --> 00:03:10.503 and this button here is your modifier key. 00:03:10.503 --> 00:03:11.281 Like Alt. 00:03:11.281 --> 00:03:11.963 Or  Control. 00:03:11.963 --> 00:03:12.507 Or Command. 00:03:12.507 --> 00:03:13.130 Or Windows. 00:03:13.130 --> 00:03:14.138 Or… 00:03:14.138 --> 00:03:14.638 Function. 00:03:15.440 --> 00:03:17.904 Press it once and it will revert back - 00:03:17.904 --> 00:03:21.829 someone got mad at me for saying revert back so I said it again! 00:03:21.829 --> 00:03:23.818 Be careful what you wish for - 00:03:23.818 --> 00:03:28.241 it will revert back to being a standard piano from whatever function it was in. 00:03:28.241 --> 00:03:31.245 Or  at least a facsimile of a standard piano. 00:03:31.245 --> 00:03:35.077 But if you hold the button down and  then press one of the keys - 00:03:35.077 --> 00:03:37.156 well, now you’ve done who knows what. 00:03:37.156 --> 00:03:39.284 Like started a sample song. 00:03:39.284 --> 00:03:41.627 ♫ The Entertainer begins to play ♫ Oh good. 00:03:41.627 --> 00:03:44.510 Can’t have a piano  that can’t play the Entertainer. 00:03:46.334 --> 00:03:47.554 Side-note. [ding] 00:03:47.554 --> 00:03:54.160 I think Scott Joplin gets a bad or  perhaps incomplete rap for being “the ragtime guy.” 00:03:54.160 --> 00:03:58.109 Yeah, ragtime as a genre has a very particular sound, 00:03:58.109 --> 00:04:02.447 but it doesn’t help that just about the only three pieces anyone ever hears are The Entertainer, 00:04:02.447 --> 00:04:05.904 Maple Leaf Rag, and sometimes The Easy Winners. 00:04:05.904 --> 00:04:07.503 Maybe Pine Apple Rag, too. 00:04:07.503 --> 00:04:09.632 Basically everything that was in The Sting. 00:04:10.080 --> 00:04:15.021 It also doesn’t help that people like to  play these pieces ridiculously fast because, well, 00:04:15.021 --> 00:04:21.407 ♫ Maple Leaf Rag played ridiculsouly fast ♫ 00:04:21.407 --> 00:04:22.801 I mean it’s very fun. 00:04:22.801 --> 00:04:25.853 But have you ever heard the second section of Solace? 00:04:26.628 --> 00:04:30.786 ♫ 00:04:33.461 --> 00:04:35.646 Bet you weren't expecting a piano recital now, were you? 00:04:46.080 --> 00:04:49.193 Or the Magnetic Rag (a personal favorite of  mine?) 00:04:49.193 --> 00:04:59.714 ♫ 00:04:59.714 --> 00:05:05.605 Appreciation for ragtime and indeed for Joplin seems to come in waves and, well, 00:05:05.605 --> 00:05:07.866 maybe we’re overdue for another one. 00:05:08.007 --> 00:05:08.856 Anyway, 00:05:09.435 --> 00:05:12.809 Yamaha gives you a cheat sheet so you don’t have  to memorize all of these. 00:05:12.809 --> 00:05:15.748 They are grouped to help make this a little more obvious, though, 00:05:15.748 --> 00:05:20.922 and they’ve put the most-likely-to-be-used functions at the very bottom (selecting voices) 00:05:20.922 --> 00:05:24.169 and near middle C (the metronome). 00:05:24.169 --> 00:05:30.744 Although, using the metronome is probably the most clunky experience of this scheme, 00:05:30.744 --> 00:05:34.755 as you enter your desired beats per minute using these keys. 00:05:34.755 --> 00:05:39.000 [a pre-recorded voice reads Six. Five. One. Two. Three.] 00:05:39.000 --> 00:05:41.644 You can then have it read back to you the set speed. 00:05:41.644 --> 00:05:43.141 [sixty-nine] 00:05:43.141 --> 00:05:43.860 Nice. 00:05:43.860 --> 00:05:48.716 Then you can turn it on or off and also adjust  beats per measure and volume. 00:05:48.716 --> 00:05:49.795 [One. 00:05:49.795 --> 00:05:50.911 Two. 00:05:50.911 --> 00:05:52.370 Oh. 00:05:52.370 --> 00:05:54.251 One hundred twenty. 00:05:55.307 --> 00:06:00.005 On.  [metronome begins ticking]] 00:06:00.005 --> 00:06:05.068 It does work, but honestly you’re better  off just using an external metronome. 00:06:05.600 --> 00:06:09.840 This probably isn’t the only keyboard  in existence to use its keys in this way   00:06:09.840 --> 00:06:12.314 but it nonetheless delights me. 00:06:12.314 --> 00:06:16.496 Because it’s a very meta take on a user interface. 00:06:16.496 --> 00:06:20.167 Every piano, going back to the days when we called it the pianoforte 00:06:20.167 --> 00:06:22.947 (or fortepiano if you like that order better) 00:06:22.947 --> 00:06:26.215 has some version of this keyboard. 00:06:26.215 --> 00:06:29.665 And what are the keys themselves but a user interface? 00:06:29.920 --> 00:06:36.080 Even an acoustic instrument of strings, mallets,  and dampers has a UI and the keyboard (and pedals)   00:06:36.080 --> 00:06:37.249 is that. 00:06:37.249 --> 00:06:41.113 Using a simple modifier button to turn that centuries-old design 00:06:41.113 --> 00:06:46.524 into a parameter-setting tool for the digital copy of the thing the design comes from is just… 00:06:46.524 --> 00:06:48.291 I don’t know exactly but wow! 00:06:48.960 --> 00:06:53.384 Outside of the UI thing, the evolution of digital pianos like this 00:06:53.384 --> 00:07:01.534 is just a fascinatingly w e i r d blend of new technologies built into and  around a very old interface 00:07:01.534 --> 00:07:08.351 but the goal of each new development is to make it seem  to behave exactly like the acoustic version   it emulates. 00:07:08.656 --> 00:07:12.435 It’s like engineering specifically for nostalgia - 00:07:12.435 --> 00:07:16.266 each step forward is at the same time a step back and I love it. 00:07:16.266 --> 00:07:19.585 I - Just think of what this thing is actually doing. 00:07:19.840 --> 00:07:24.063 When you get right down to it, this is  a really weird machine 00:07:24.063 --> 00:07:28.861 that calls up a pre-recorded sound sample of a real piano producing a single note 00:07:28.861 --> 00:07:31.526 the moment you push any one of these buttons. 00:07:31.526 --> 00:07:34.500 They just happen to be  shaped like piano keys. 00:07:34.500 --> 00:07:38.585 Then it plays that sample through a pair of loudspeakers. 00:07:39.453 --> 00:07:43.571 That’s just really goofy when you think about it, isn’t it? 00:07:43.571 --> 00:07:45.852 But, if you press the buttons in the right order… 00:07:45.852 --> 00:07:50.107 [Third part from Solace] 00:07:50.107 --> 00:07:51.396 you get music. 00:07:56.720 --> 00:08:01.404 But then again I suppose that’s exactly what  happens with a real piano. 00:08:02.038 --> 00:08:05.413 Anyway if you can’t tell thinking about this too hard makes my brain hurt. 00:08:05.413 --> 00:08:08.305 I mean, it’s just a skeuomorphic nightmare. 00:08:08.880 --> 00:08:13.600 So let’s talk about some of the things we’ve  done to make fake pianos fake it better.   00:08:13.600 --> 00:08:18.258 The earliest digital keyboards were  basically sound-sample-caller-upper machines   00:08:18.640 --> 00:08:20.427 and not much else at all. 00:08:20.427 --> 00:08:25.916 In fact it might not have even been a sound sample or even digital, it could have been synthesized. 00:08:25.916 --> 00:08:30.092 But that’s a horrible substitute for a real piano, 00:08:30.092 --> 00:08:33.534 especially if the keyboard doesn’t  have some kind of force detection. 00:08:33.534 --> 00:08:39.893 Which early ones didn’t, and so each note  sounded at the same loudness with every press. 00:08:39.893 --> 00:08:44.359 Now this isn’t to say that early piano  replacements weren’t cool in their own ways. 00:08:44.359 --> 00:08:50.396 Electronic pianos certainly have their place and  brought new and interesting sounds to the world of music. 00:08:50.396 --> 00:08:55.200 And let’s not forget the earlier electric piano though that’s an entirely different beast. 00:08:55.760 --> 00:09:00.742 And there are so many other weird concepts  out there like the mellotron 00:09:00.742 --> 00:09:04.522 which is an analog sample-caller-upper but again, different beast. 00:09:04.522 --> 00:09:10.592 I’m solely talking about the continuing work to faithfully mimic a real piano in both sound and function. 00:09:11.101 --> 00:09:15.920 To that end, we pretty quickly developed keys  that could determine how hard they were pressed   00:09:15.920 --> 00:09:17.741 by way of velocity detection 00:09:17.741 --> 00:09:24.800 (basically each key has two switches at two different depths and it just determines how quickly the key moved between those two positions   00:09:24.800 --> 00:09:27.165 to work out how hard you pressed it). 00:09:27.165 --> 00:09:32.920 That was combined with new software which would alter the volume of the played sample based on that. 00:09:33.389 --> 00:09:36.914 This allowed the player a similar degree of expressiveness as before 00:09:36.914 --> 00:09:38.964 and brought the forte back into the piano. 00:09:39.360 --> 00:09:41.491 But that’s not great, either. 00:09:41.491 --> 00:09:46.400 Just playing the same sample at different volumes isn’t actually a good approximation 00:09:46.400 --> 00:09:49.319 of what an actual piano actually sounds like actually. 00:09:49.319 --> 00:09:53.164 In a real piano the key pushes a mallet into the strings 00:09:53.164 --> 00:09:57.962 and the force of that strike changes not just the volume but also the timbre. 00:09:57.962 --> 00:10:03.142 Softly-played notes are mellower  and not as bright as keys gettin’ smashed. 00:10:03.142 --> 00:10:10.434 So to add realism, digital pianos and keyboards started including multiple sound samples of every note, 00:10:10.434 --> 00:10:13.446 recorded at different volumes on a real piano, 00:10:13.446 --> 00:10:16.403 thus allowing for approximating that timbre difference. 00:10:16.403 --> 00:10:21.047 How hard you press the key now  determines not only how loud to play a sample 00:10:21.047 --> 00:10:21.903 ♫ 00:10:22.000 --> 00:10:25.026 but also which specific sample among a set 00:10:25.026 --> 00:10:25.899 ♫ !! 00:10:25.899 --> 00:10:27.755 should be played for that note. 00:10:28.240 --> 00:10:31.018 And what about how to stop playing the note? 00:10:31.018 --> 00:10:35.342 Most keys on a piano lift a damper from the strings when you press them 00:10:35.342 --> 00:10:38.022 and replace the damper when it is released. 00:10:38.022 --> 00:10:44.258 That’s why a note continues as you hold the key but stops when you release it. 00:10:44.258 --> 00:10:48.904 This piano does a simple quick fade-out of the sample when the key is lifted, 00:10:48.904 --> 00:10:50.414 which honestly is close enough. 00:10:50.414 --> 00:10:53.163 However, the sustain pedal (the one on the right) 00:10:53.163 --> 00:10:56.154 allows the player a very important technique. 00:10:56.154 --> 00:11:04.042 In a real piano, this pedal lifts all the dampers from the strings meaning every note will continue so long as the pedal is pressed. 00:11:04.400 --> 00:11:10.455 This digital piano’s sustain pedal isn’t just an  on-off switch and mimics partial-pedaling, 00:11:10.455 --> 00:11:16.126 where the dampers are rested slightly on the strings  which quiets them somewhat but not completely. 00:11:16.243 --> 00:11:19.346 [loud chord is played, then suddenly gets quieter but doesn't stop] 00:11:19.600 --> 00:11:22.775 This may not sound very important but trust me, it is. 00:11:23.280 --> 00:11:28.640 Oh, and speaking of the pedals, I said earlier  that this piano gets the sustain pedal wrong.   00:11:28.640 --> 00:11:30.211 Here’s how. 00:11:30.211 --> 00:11:33.652 If I were to play a loud chord with the pedal depressed, 00:11:33.652 --> 00:11:39.545 then play the same chord again quietly but keep the keys held down with my finger thingies, 00:11:39.545 --> 00:11:45.990 releasing the pedal shouldn’t do anything because I’m holding those virtual  dampers off the strings with my fingers. 00:11:45.990 --> 00:11:47.022 And yet… 00:11:47.022 --> 00:11:49.712 [loud chord, soft strike on top, then it suddenly gets quieter] 00:11:49.970 --> 00:11:50.879 Can you hear that? 00:11:50.879 --> 00:11:53.085 [same sequence] 00:11:53.840 --> 00:11:59.274 That is very wrong, and I cannot believe Yamaha  screwed that up here. 00:11:59.274 --> 00:12:03.792 Though in fairness they’ve only been making pianos since 1900. 00:12:03.792 --> 00:12:09.580 It seems the logic in the piano reset the keys’ sustainedness status on the second press 00:12:09.580 --> 00:12:15.567 and dampered the first loud sample that was started on the first keypress when I released the pedal but again, 00:12:15.567 --> 00:12:18.908 that is very wrong and not how it should work at all. 00:12:19.360 --> 00:12:23.840 Though, in fairness, I actually only recently  discovered this so it’s not that bad. 00:12:24.400 --> 00:12:28.620 Interestingly, though, this was handled correctly with the middle pedal. 00:12:28.620 --> 00:12:31.633 Which is great because nobody ever uses that one! 00:12:31.633 --> 00:12:38.712 Plus lots of pianos don’t even have it, and when they do there’s no set rule for what exactly it does. 00:12:38.712 --> 00:12:42.236 Here it’s implemented as it often is in grand pianos. 00:12:42.236 --> 00:12:49.036 Called the sostenuto pedal, this pedal will lock any dampers that are lifted the moment the pedal is depressed 00:12:49.036 --> 00:12:51.365 but leave the rest alone. 00:12:51.365 --> 00:12:53.586 Here’s what that sounds like in practice. 00:12:53.586 --> 00:12:59.217 [a chord is played, then all the keys are played rapidly. When hitting the original chord, those notes are still sustained] 00:13:00.000 --> 00:13:02.343 Hopefully you understand what’s going on here… 00:13:02.343 --> 00:13:06.160 it’s not super easy to describe with words and  if you’re not familiar with pianos   00:13:06.800 --> 00:13:11.939 this might be baffling but in any case if I do  the same thing as before and then lift the pedal, 00:13:11.939 --> 00:13:14.801 [loud chord, soft chord, then no change] 00:13:14.960 --> 00:13:21.883 now it correctly lets the original loud sample  continue on until I actually release the keys. 00:13:21.883 --> 00:13:24.510 I’m thinking if they got the middle pedal right, 00:13:24.510 --> 00:13:28.265 somebody just forgot to put a line of code somewhere for the other one. 00:13:28.265 --> 00:13:33.195 Oh, and the pedal on the  left is known as the una corda or soft pedal. 00:13:33.600 --> 00:13:37.576 In a nutshell it just makes the piano a bit  quieter while it’s depressed. 00:13:37.576 --> 00:13:39.301 A bit like this. [he said softly] 00:13:39.301 --> 00:13:44.752 OK, so that’s about as far as this particular  piano goes when it comes to the reproduction of sound, 00:13:44.752 --> 00:13:52.244 but of course there’s also the fact that these keys themselves are weighted to mimic the feel of a real piano’s keys. 00:13:52.244 --> 00:13:56.143 They’re even progressively weighted more heavily towards the left side of the keyboard 00:13:56.143 --> 00:13:58.110 just like a real piano’s bass notes 00:13:58.110 --> 00:14:00.947 because big hammer make key go slow. 00:14:00.947 --> 00:14:06.206 But this is actually a pretty basic key-weighting system as things go. 00:14:06.206 --> 00:14:08.231 They only get more complex from here, 00:14:08.231 --> 00:14:14.679 and some digital pianos go so far as to implement actual, real piano actions 00:14:14.679 --> 00:14:22.129 where a real keyboard moves real hammers that hit force sensors so basically it’s an actual piano 00:14:22.129 --> 00:14:25.613 except the strings have been replaced with sensors and a computer. 00:14:25.920 --> 00:14:30.855 Remember how I was saying digital pianos are a  fascinatingly weird blend of new and old tech?   00:14:31.280 --> 00:14:36.211 Yeah, those so-called hybrid pianos  are the epitome of that sentiment. 00:14:36.640 --> 00:14:38.510 Then of course there’s polyphony. 00:14:38.510 --> 00:14:42.557 That word means a lot of different things depending on context and it’s confusing 00:14:42.557 --> 00:14:44.262 so I’m not gonna touch it. 00:14:44.400 --> 00:14:48.557 To end I want to talk about some of the other  wild stuff that folks like Yamaha 00:14:48.557 --> 00:14:51.718 are putting into their highest-end digital pianos. 00:14:51.718 --> 00:14:58.819 Real pianos are much more acoustically complicated than a mix of sound samples played in the right order. 00:14:58.819 --> 00:15:04.126 One of the most basic things this keyboard is missing is sympathetic vibrations. 00:15:04.126 --> 00:15:08.075 With the sustain pedal depressed and all strings free to vibrate, 00:15:08.075 --> 00:15:12.253 hitting any note will induce some vibrations in those other strings, 00:15:12.253 --> 00:15:16.749 particularly those with harmonic frequencies shared with the original note. 00:15:16.749 --> 00:15:22.638 This adds a richness to the notes played with the sustain pedal that this piano is not reproducing, 00:15:22.638 --> 00:15:26.055 at least I’m not noticing it, but others do. 00:15:26.055 --> 00:15:28.859 As you go up in price with digital pianos these days, 00:15:28.859 --> 00:15:34.397 you not only get the niceties like real wooden keys and actual piano actions if you  want, 00:15:34.397 --> 00:15:39.947 oh but hold on if you’re buying one of these digital "grand pianos"… 00:15:39.947 --> 00:15:41.610 just don’t. 00:15:41.610 --> 00:15:45.568 I don’t understand how people find this impressive and not objectively goofy. 00:15:45.568 --> 00:15:48.400 But anyway, over-the-top cases aside, 00:15:48.400 --> 00:15:54.852 new software modeling allows these instruments to not only account for sympathetic  vibrations of other strings 00:15:54.852 --> 00:16:00.481 but also the acoustic profile of the piano’s soundboard and wooden case. 00:16:00.481 --> 00:16:03.946 Combined with better and more powerful audio systems, 00:16:03.946 --> 00:16:09.904 we’re at a point where digital pianos are  realllllly close to their acoustic counterparts. 00:16:09.904 --> 00:16:13.236 There are still reasons to have an acoustic  piano, to be clear, 00:16:13.236 --> 00:16:16.037 but there are also a lot of great benefits to these. 00:16:16.037 --> 00:16:19.312 Perhaps chief among them is that they don’t weigh hundreds of pounds. 00:16:19.523 --> 00:16:20.676 That’s nice. 00:16:20.676 --> 00:16:23.618 Also very important to me is that they don’t lose their tuning. 00:16:24.000 --> 00:16:25.589 Oh but on that note, 00:16:25.589 --> 00:16:30.539 I only recently discovered that this piano allows you to play two voices at once. 00:16:30.539 --> 00:16:36.149 One of my gripes with it is that it’s not a very bright sounding piano with its main voice, 00:16:36.149 --> 00:16:40.742 and the brighter piano voice it does offer doesn’t sound that real to me. 00:16:40.742 --> 00:16:44.960 Well, in a happy accident, if you select both piano voices 00:16:44.960 --> 00:16:49.984 it puts the bright piano an octave up and  makes a surprisingly nice change to the sound. 00:16:49.984 --> 00:16:52.054 [arpeggiations] 00:16:52.054 --> 00:16:57.168 What’s more, if you adjust that second voice back down to the original octave, 00:16:57.168 --> 00:16:59.672 you end up with a detuned sound. 00:16:59.672 --> 00:17:04.504 [a detuned sound as notes are played] 00:17:04.504 --> 00:17:07.749 It's not quite honky-tonk, but more like a parlor sound, 00:17:07.749 --> 00:17:10.137 which I personally find great for ragtime. 00:17:10.958 --> 00:17:16.075 I hope you enjoyed this meandering off-the-cuff look at the world of digital pianos. 00:17:16.075 --> 00:17:20.605 It’s by no means complete, and there are many rabbit holes you can fall into if you want, 00:17:20.605 --> 00:17:23.311 so sorry if I sent you down one of those. 00:17:23.311 --> 00:17:25.964 But for now, as Mozart would say, 00:17:25.964 --> 00:17:26.880 toodles.