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Since 1972, Roland has pioneered many groundbreaking technologies and “world’s first” products. Chris Tomlin talks about his ministry, songwriting, and special songs on the Burning Lights tour, in which he plays solo on the V-Piano.
Composer, arranger and keyboardist Brian Culbertson takes us on a tour of his home studio and shares his thoughts on the V-Piano. Musical director and keyboardist Paul Mirkovich (CBS's "Rockstar INXS") talks to Roland about the V-Piano. Journey keyboardist, Jonathan Cain, talks about his first experience with the V-Piano Grand and how it saved his gig. Producer and keyboardist, Mano Hanes (CeCe Winans, Andrae' Crouch, Israel Houghton) plays the V-Piano and talks about using it in live performance. Choose from a variety of vintage piano models to vanguard (sounds beyond the capabilities of a traditional piano).
With the V-Piano, you can choose from beautifully crafted vintage grand-piano presets or you can create your own custom dream collection. Even the most demanding pianist will appreciate the V-Piano’s new PHA-III Ivory Feel keyboard with Escapement. This well-built, real-feel pedal comes with a non-slip rubber plate — essential when performing on hardwood or slip-prone surfaces — and an extended cable (2.2m) for stacked multi-keyboard setups. Two switches in one, BOSS’s FS-6 combines latch- and momentary-type switching into one unit. A portable keyboard amplifier featuring five channels of stereo input, 320 watts of power and Roland’s famous DSP effects — perfect for keyboards, vocals, and more. This contains information on the Digital Piano driver compatible with Microsoft Windows 10. The latest version of V-Piano Editor, a software that allows you to use your personal computer to customize the V-Piano's tone parameters in real time. This is the RD-300GX, RD-300SX, FP-7, FP-4, and V-Piano driver for Microsoft(R) Windows(R) Vista(TM) 64-bit Operating Systems. If you have questions about operating your Roland product, please check our Knowledge Base for answers to the most common questions.
In addition, we have a library of Owner’s Manuals and Support Documents that you can download and reference. Since 1972, Roland has pioneered many groundbreaking technologies and a€?worlda€™s firsta€? products. Inscrivez-vous gratuitement et profitez des tarifs speciaux reserves aux membres Audiofanzine.
Forget all the twiddly information about numbers of voices, memories, voice editors and so on, we’ll come to these shortly. PERFORMING MUSICIAN + Live Sound World magazine is published monthly by Sound On Sound LtdCompany number: 3015516. Registered office: Media House, Trafalgar Way, Bar Hill, Cambridge, CB23 8SQ, United Kingdom. Past a certain price point, quality in this industry sometimes hits a point that makes comparison very difficult indeed.
There are however some key differences between them, and I think the piano you’ll prefer will depend on a few factors. This comes purely down to how much you want your digital piano to look like an actual piano.
The Yamaha however has a closer affinity with the look of various synths – it is after all paying homage to the CP70 and 80 of yesteryear. I think the core difference for me was the way I approached the in-depth sound editing of the two keyboards.
Meanwhile, as is typical of Roland, there’s a general incitement on the V-Piano to start from scratch in forging unique sounds. So it might be a slight cop-out to praise both, but in my head at least they fill two different gaps in a sonic arsenal. Having spent his life changing strings in guitar shops, writing and editing news and reviews of the latest music gear and gigging in admittedly-short-lived bands, Rob's particular passions lie with all things six-string and the bodger's world of home production. While he is perhaps not hugely rock and roll, his efforts as a biographer of those who are allow him to at least live a little vicariously through them, which is almost as good. Feel free to drop him a line for help, advice, or just to chat, but be warned: he does go on a bit. I give a few extra points to Roland for finally acknowledging the usefulness of a flat top uncluttered with knobs or displays. For too long, manufacturers have forgotten that stacking one keyboard on another is essential in a live setup.
All this said, no instrument costing over ?4k is ever going to tour with me, it’s too big a risk.
Maybe one day, some manufacturer will make a sensibly priced Stage Piano with a flat top and all the control on the front, and I can finally have a stable setup.

The real test would be to have the same performer play the same piece first on the Roland and then on a decent concert piano.
The Roland Worldwide Social Network keeps you connected to the latest products, exciting events, and much more. In recent decades, no family of Roland instruments has won more respect and acclaim than the revolutionary “V” series: V-Accordion, V-Bass, V-Drums, V-Guitar, and V-Synth. With its innovative approach to digital-piano synthesis, the V-Piano soars beyond the limits of previous sample-based instruments.
With the V-Piano, there is no velocity switching, and it provides a smooth, natural decay that must be heard to be believed. This advanced keyboard technology reproduces the real feel of ivory for the natural keys and ebony for the sharps, and provides a true grand-piano touch and response. With its clean control panel and logically designed user interface, the V-Piano is amazingly fast and friendly to navigate.
There is a huge selection of digital pianos on the market; some designed for home use, some for the stage, and the occasional really heavy one that you would prefer to leave in the studio unless you have a dolly and a couple of willing roadies to hand. The shape is similar, the colour is the same, the control surface is reminiscent, and the optional KS-V8 stand is almost identical. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. This has never been more the case than with the ongoing battle of the Roland V-Piano and Yamaha CP1.
Being able to drop in different parts of separate acoustic and electric tones through this system works well, and particularly helps when you need to make speedy changes to your sound. Playing either instrument with your eyes closed will feel a lot like you’re tinkling on a grand, so to speak.
Both Yamaha and Roland have chosen a unique route to modelling and emulating pianos of numerous varieties, and both have done an extremely good job of it. There are a huge number of factors that can be shifted to create a tone, and I couldn’t help but feel like a bit of a mad scientist at the keys.
They’re useable in all recording and live applications, and the presets on both will keep you busy for the honeymoon period.
There’s so much to change on this instrument that even the pickiest person can get a pinpointed tone to suit any situation, and that will appeal to the more exploratory users. Either purchase will make you a happy player indeed, but as is always the case with pricey buys, you need to properly know yourself as a pianist before you can decide whether the Yamaha CP1 or Roland V-Piano is right for you. And of course, you can’t put a heavy weighted touch 88 note Piano on a flimsy double keyboard stand. The specification is standard enough: 256 sounds, up to 128 simultaneous voices, and a sequencer capable of replaying SMF formats 0 and 1. Great care has been taken to ensure accuracy in the preparation of this article but neither SOS Publications Group nor the publishers can be held responsible for its contents. During my test of the two stage pianos this week, both have been impressive and both have performed to a level that professionals would be happy with. While you still have various knobs and switches on the front panel, there’s not too many on show, and the glossy finish of the top looks classy without being contrived. There are also immediate recall buttons for the tones you’re using, so access for live purposes is there. There are certainly still hidden menus, which like the Roland are accessed via the central knobs.
They’re excellent starting points to take forward, messing about with them for fine-tuning. Driven through a nice pair of speakers, both pianos made me genuinely lose myself during the tests – I had little to level in criticism.
There are frills on the Yamaha, but I suspect CP1 players will choose not to mess too much with what they already have in front of them.
Even the double-braced kind wobble around like a jelly driven along a cobbled street… so a two layer keys stand is NOT the answer there. Put a world-famous grand under your fingertips or play a futuristic piano that has never been heard before. You’ll be customizing and creating new sounds within minutes of first touching the instrument. The views expressed are those of the contributors and not necessarily those of the Publishers. It’s more a case of the sound editing being discreet and requiring as few controls as possible to get the job done. Moreover, the controls mean that it’s not difficult to slightly tweak things to suit live and studio needs.
The manual warns that, if you attempt to use very large files, operations other than playback (such as rewind or fast forward) may become unavailable but, despite my best attempts to make something go wrong, I was unable to create a problem.You can play audio through the dedicated inputs as well as from WAV and MP3 files on memory sticks.
If you’ve spent a lot of time editing plug-ins and EQing on software, either on screen or with a controller, then this system will feel familiar. In short, some or all of the notes on a real piano are sampled multiple times with, say, one sample being the sound of a soft piano note, the next being a somewhat harder mezzoforte, the next being a good solid forte, and the last being the fff thump of a weightlifter having a bad day.

Being a butch and manly kind, I ignored this and removed both units from their huge boxes, assembled the stand on my own, then lifted the V-Piano onto it.
I played some WAVs that happened to be sitting on the same stick as the MIDI files mentioned above, and again everything performed as it should.
These are then allocated to MIDI velocity ranges with, say, the piano sample being replayed in the range 032, the mezzoforte sample being replayed from 3364, and so on.
There appear to be just two building blocks: one called the Vintage Piano, and the other called the Vanguard Piano, although there may in fact be variations on each of these. Sometimes, there’s a bit of trickery invoked to try to smooth the transitions between layers but, if you listen to almost any modern digital piano, you can hear the individual samples quite distinctly.
To overcome this, I first tried to identify the resonant frequencies that give my piano its individual character. The skill with which the manufacturer masks these discontinuities and disguises any obvious loops as long notes decay determines the quality of the instrument.Fortunately, as far back as 1986, one company adopted a different approach. Sure, you can fold it flat, but assembly and disassembly are non-trivial tasks that require you to undo numerous bolts and separate several bits of metalwork. They were Roland, and the flagship of their new piano range was the RD-1000, a hefty instrument that, unlike the K250, had no pretensions to being anything other than a generator of piano sounds. The body was there, and the mid-range now sounded nicer, but the top end was less realistic than it had been before I had started.
It was based on a new technology that Roland called SAS, or Structured Adaptive Synthesis. Wouldn’t it be excellent, I thought, if there were a way to stop the top end from becoming overly bright while retaining the peaky EQ across the whole of the range?
This was an early incarnation of what we now call resynthesis and, although its sounds were derived from samples, these were analysed by a computer (named Sally, if my memory serves me correctly) and broken down into harmonic structures.
These structures were then interpolated between velocities so that there was a continuous, smooth transition as you played from MIDI velocity 1 to 127. The tone EQ allows you to insert a single equaliser into each of four user-defined zones, so I selected the notes from C6 upward and rolled off the high end with a broad Q filter. There are no Fender Rhodes pianos, no Wurlitzer EP200s, no Yamaha CP80s, no Pianets, no Electrapianos, no Electropianos, nor anything else. What’s more, there were none of the unpleasant transitions from one discrete sample to the next as you played up and down the keyboard.
Pressing the same key on my Broadwood and on the V-Piano showed that the sound of the Roland decayed far more quickly than the sound of the acoustic piano, so I found the Decay Time parameter and extended this almost to its maximum. Then I extended the Damping Time so that notes cut off a little less abruptly when I released the damper pedal.Now the illusion was becoming convincing, but perhaps the greatest breakthrough occurred when I started to mess around with the parameters of individual notes. My Broadwood is tuned professionally, but there are still notes that are slightly more detuned than others and some that cause strong resonances in the mechanism and case. If the Chieftain tank had been designed by Hugo Boss and anodised with a black satin finish, it might have conveyed a similar impression. I decided to replicate some of these anomalies on the V-Piano, using the editor to draw a bit more detune here, some more resonance here, and a clattering, harder hammer over there.
To test this, I used the onboard sequencer to record what I was playing, and then sat back to listen. The results were impressive, and my sounds now carried a real suggestion of size, depth and reality.
To be honest, I suspect that few listeners would have realised that they were listening to a digital recreation of a piano rather than the real thing.By far the best effect for the player is obtained from two modes that Roland calls Sound Perspective.
It then biases elements of the sound, such as keying noises and soundboard resonances, toward individual speakers to create much of the illusion of sitting at a real piano. Then there are the theatres, concert halls and even music schools who might find the V-Piano to be an excellent compromise between authenticity and convenience.
You can also assign all manner of functions to various buttons, and even more to the continuous controllers masquerading as the soft, sostenuto, FC1 and FC2 pedals. For example, you can adjust the duration of the short delay that occurs on a real piano between pressing a note and the hammer striking the string, and control how this changes with velocity. It really needs two people to move it, which might prove a bit of a drawback for some gigging pianists. You can use these simultaneously in Sound Perspective mode to create a deeper soundfield than would otherwise be possible.
The one on the front panel is for memory sticks, both for backup and to access MIDI and audio files. Although these are sample-based, they are the current zenith of that type of technology, and I imagine that many players would feel at home on one of them.
This means that you edit the sound by adjusting parameters related to the physical nature of the hammers, strings, tuning, and so on.

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