Nord Piano 5 [RELEASED]

[Fleer]

That may be true but doesn’t explain the relative pricing level, i.e. that Piano 5 is priced the same as Piano 4, with the 73 even cheaper.

[FZiegler]

I've never been in Denmark for holidays. Should plan something in summer! Do you need a boat licence to rent a sailing boat on shore? And where could this be? Are there any bigger lakes in Denmark? I don't have an offshore licence. Always wanted to see Aarhus.

[Fleer]

I’ve been to Kopenhagen and Lund university over the Øresund bridge in Sweden. Great places.

[Nord33]

hahahah, I return to this topic every few days and now it's seriously funny from where this topic started and where we are now

[FZiegler]

We are still at price levels - took just a little deviation.

[Duplobaustein]

I wouldn't consider any key as more or less convenient to play. Maybe that's why I don't get it. To me that doesn't make a difference.

So you mean that you are as comfortable, fast and precise doing any kind of lick/phrase/scale run/voicing, you name it, regardless of the key you play it in? Can you do a fast blue scale run in both directions and with random direction changes in the key of Bb with the same precision and speed as you do in the key of F? Can you do a minor-to-major finger slide as smoothly even when the "slide" is between two white keys or ascending between a white key and a black key? Can you voice a major tenth even when the root and the tenth are one on a black key and the other on a white key?

Mind you I am not being provocative, just genuinely curious. Because if you can do all the above with really no difference at all in the outcome, then surely you are a minority. On the other hand, a lot of keyboardists (and guitarists, and sax players, and possibly any instrument really) will tell you that certain things are more comfortable to do in certain keys, and less so in others, even only for kinetic reasons.

I am not saying that, therefore, we shouldn't practice in all 12 keys of course...

There will always be situations where you would need that one, two or three extra key(s) below or above. Regardless with whom you play or what instruments they play.

Yes, but the only rationale behind choices like "E to E" is that, if you play with guitarists or with/in place of bass guitarists, then it's a bit more likely that you'll need an E slightly more often than you'll need a Eb. Unless you play with guitarists that are as comfortable in any given key as they are in any other key you can name, as you say you are with keyboards. They might exist...

I rarely (never?) play licks, I prefer playing what I hear in advance. But basically yes, I don't mind what key I play.

I would have to check my cover setlist, but I would bet, the keys are pretty equal spread on all 12, with probably a slight advantage for G/Em and C/Am.

The thing with the range is, that you rarely play the very ends of the keybed, so imho it really doesn't matter where it starts and where it ends.

[Hlaalu]

I rarely (never?) play licks, I prefer playing what I hear in advance. But basically yes, I don't mind what key I play.

Playing what you hear is most valuable and truly mastering this craft is a lifetime's enterprise. That said, playing what you hear has little to do with the issue of how comfortable certain things are in certain keys rather than others, because the the following step after "playing what you hear" is "put that in practice". This is when the key thing comes into play.

But I guess it all depends on the complexity of the music, and also whether you play on weighted keys where velocity also affects the sound, or not. If what one hears is some paddy new agey chords played on light action keybeds, I am with you the key won't make any difference when you put that into practice. If what one hears is a Oscar Peterson kind of solo, and he can immediately pull that off in any key with no kinetic difference in comfort and indistinguishable outcome, then he is either exceptional or he is Oscar Peterson himself -- for hearing such a thing in his head in the first place, and for actually playing it.

Last but not least, one thing is to "manage" to play the same passage in all keys. Another thing is playing that passage "equally well" in all keys.

What genre do you play by the way?

[FZiegler]

You really insist, Hlaalu! In what exactly?

And I'd think, too, that it may depend on the style you are playing and the space you are used to dispose of. Coming from a piano, 73 keys were definitely a point, where I happen to hit the border (literally). But not when I'm playing with the band - then my 'playground' is much more restricted.

And maybe that's why a good melodion player (often playing with string ensembles) seriously gave the advice that it wouldn't matter much if you have an instrument with 32 or 37 keys - for beginners and advanced players. Which is half of what I have on my NS3C. He even didn't mention the 44-key instruments from Hammond/Suzuki in that context: 37 keys would just be a little better in the upper range than 32. But a little less handy.

Which is again the reason why there is something like a Piano-73!? Even if you are a bit limited for soloing.

[SteveNordP3]

Maybe Nord should just create a modular approach. Say a “base unit” with all the core electronics and controls that’s 3 octaves then add on an octave or two at a time as you see fit. Maybe you can buy enough sections for a Bosie and use when you like, or go with 45 keys or 76 or whatever the situation calls for...each section would lock in to the base unit and give all the flexibility you need

[FZiegler]