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Clavinova vs Arius

Clavinova vs Arius

Step Ups From YDP 184 To CLP-735:

  • New Yamaha CFX Sampling
  • CFX Binaural Sampling
  • Split Mode
  • USB to DEVICE
  • Grand Touch-S vs GH3
  • Escapement action system, which is more like an acoustic grand.
  • WiFi connectivity (with optional UD-WL01)
  • Improved Virtual Resonance Modeling (VRM)
  • WAV audio playback & recording (via USB to DEVICE)
  • 1/8″ Aux Input
  • 1/4″ L&R Aux Output
  • 16-track, 250 song recorder (vs. 2-track, 1 song)
  • Bosendorfer Sample in the CLP-735
  • 5 Year Parts and Labor in your home warranty vs 3 years drop off warranty on YDP184
  • Another difference between the Arius and Clavinova is how their headphone sound. One of the biggest advantages of a digital piano over an acoustic one is the ability to practice silently and the CLP700 series has stepped it up a notch with binaural sampling. To put it simply, when you wear headphones whilst playing any CLP700 piano, it’s as if your sat in the playing position of $200k Yamaha CFX concert grand piano. The sound hits the front of you in wonderful stereo, as it would be if playing an acoustic grand, instead of just directly into your ear from the sample. It’s a strange sensation at first! It makes playing with headphones feel more natural and enables you to do it for longer without ear fatigue.

 

Selecting a Piano Teacher

Selecting a Piano Teacher

The piano is a complicated instrument with many aspects to think about from the beginning. A good teacher can help guide the student during these formative years, but unfortunately many parents don’t often take the time to select the right piano teacher; many seem to sign up for lessons with the first person they find. This doesn’t always make for success.

Many basic technical aspects of piano playing are the same for all students during the first few lessons; these include basic posture at the piano, hand and finger positions, and general movement around the keyboard. If these aspects are not addressed from the outset then piano playing can eventually become uncomfortable and difficult.

Basic rhythem needs to be understood from the beginning. A student can be guided to count while learning to keep time or even better, use a metronome (or both!), this is fundamental to good playing and is much easier when taught from the beginning.

Note reading needs to be guided correctly from the beginning too, especially with regard to the left hand. Many students aren’t taught to read the Bass and Treble Clefs (left and right hand lines of music) at the same time. If both lines of music are not taught from the beginning many never learn to read the left hand/bass clef correctly.

The quicker a pupil learns how to play both hands at the same time the better. It needs to be done carefully and slowly from the beginning.

Good Teachers will encourage correct hand movements and proper use of the arm to enable excellent tone production and finger movement. If this element isn’t addressed the pupil could potentially experience pain or repetitive strain injury too.

Most importantly, a good teacher will not only spark a real interest and love of music, but they will also be able to show how to interpretate a piece of music (the way a work is played.) This is a vital aspect of piano playing and all pupils need to master how to play musically or expressively.

The above are reasons why you need a good piano teacher. Patience and kindness are not enough (although they are important too!). Your teacher needs to know how to get you or your child to make good progress. Take time and select a well qualified, experienced piano teacher. Some of the best teachers can be found by word of mouth, or call the closest Piano Distributors for a list of local teachers known to have a record of success with students.

Old vs New U1 and U3

Old vs New U1 and U3

Old vs New U1 and U3

Yamaha U1 and U3 designs pre-2002 are inferior to current models despite the misleading and inaccurate web-articles, forum posts and piano shop spiel.

It may still be called the Yamaha U1 or the U3, but apart from the model name, the design of the piano back, frame, scaling and action components used in the current models are quite different to those found in older models.

In fact… Yamaha’s recent additions to their upright piano range at competitive prices actually have far more in common to the current U1 design than earlier U1’s… so the ranted down Yamaha B3E is actually heavily based on the new Yamaha U1 benefitting hugely from Yamaha’s upgrades, while the P22 brings the professional standard performance of the Yamaha U1 to the domestic market at a favorable price and in a more elegant cabinet.

Yamaha U3

Functionality

Firstly, on the new U1 and U3 the fall, (the keyboard lid) now has a ‘soft close’ feature to help prevent accidental injury or damage. The music desk is now extra wide (35 inches rather than 25 inches) to provide extra room for your sheet music.

The construction

Take a look at the backposts. Most older models had 4, the new model, 5. Backposts improve rigidity, resonance and structural stability. Additionally, the new model has tone collector bolts, connecting the backpost to the iron frame to further increase stability and tonal quality.

Yamaha U1 Upright Piano

Rib configuration

The newly designed rib configurations also add strength to the soundboard yet still improve the tone.

The iron frame and scale design

The new model has a ‘perimeter’ type iron frame and redesigned bass bridge, to allow longer bass strings than in the older model and improve the depth and purity of the bass.

Yamaha B3E Upright Piano

Hammer heads and hammer felt

The new U1 has underfelted hammers and of a different shape to provide optimum tone production, response and long term durability.

Tuning pins

Lathe cut and, on the new model, nickel plated rather than the cheaper blued steel variety found on earlier versions.

Yamaha P22 upright piano

 

Floating Soundboard (U3)

New U3 (post yr 2002) has a ‘floating attachment’ method of soundboard fitting, allowing the soundboard to vibrate more freely, improving the depth and character of the bass and mid-range tones.

Additional Models at various price points

There are two less expensive Yamaha models which are based on the new U1 specification, using the same five backposts, tone collector bolts, rib configuration, perimeter iron frame, bass and treble strings, underfelted hammer heads and lathe cut, nickel plated tuning pins and spruce keyboard – the Yamaha P22 which has a Strunz German soundboard, and the new B3E (November 2013 onwards) has a solid spruce soundboard (pre Nov 2013 B3 had a 3 ply laminated soundboard). Both great value for money, the B3 is similarly priced to a 35 year old U1, but looks better, sounds better, plays better and will last you around 35 years longer than the old piano!

Refurbished / restored / reconditioned???

There is a misconception that most of the second hand U1 and U3s have been ‘restored.’ Restored can be interpreted in many ways, in this instance, most restoration is cosmetic, such as casework, keytops and buffing the brasswork. The following components have not usually been replaced:

  • Strings – life expectancy 40-50 years max. (The bass on early Yamaha pianos was not their strong point.) Most makes of concert grands have their top treble strings replaced approximately after 10 years!
  • Hammer felt – the existing felt is ‘refaced’ – ie sandpapered smooth to remove the grooves, so it looks new, but is in fact as old as the piano.
  • Damper felt – again, usually this felt is not replaced.
  • Soundboard, ribs and bridges – not replaced.
  • Tuning pins – not replaced.
  • Springs – spiral, damper and hammer butt not replaced.

The only components likely to have been replaced are the loop cords on the hammer butt (original material used would perish after approx. 20yrs – but Yamaha changed the material and maybe the key bushing cloth.

The fact that these old pianos still command such high prices with hardly any component being replaced is indeed testimony to Yamaha’s legendary design, build and component quality.