Bechstein Digital C. Bechstein Digital Grand KONTAKT

... now we realized why do most consumers win, not because they are smarter, but because they want to pay less, buy in quantity rather than quality.
I suggest that all of you sit at these cheap Ac. pianos to fell it's pedals, you'll then realize that the harmonic pedal is just: ON-OFF.
Far, between 'Digital Pianos' the only one I've seen perform this function, I mean a half pedal, believe me, it's Casio from Japan.
One of the fundamental main characteristic of a perfect piano like Bechstein, is the ability to produce several nuances of the fully open to the mezzo pedal.
The worst piano, just a sustain pedal 'ON-OFF', I've ever played in my life was a Suzuki, it seems they don't like any kind of pedals even in cars, in 2015 they made a big recall because of the brake pedal of their cars, Suzuki declared bankruptcy in the USA, not only their piano pedals, but also some of the car's brake pedals will fail when you need it most. Tradition is never copied.

Bechstein is among the 15 top best pianos in the world:
Baldwin
Bechstein
Blütner
Bösendorfer
Fazioli
Feurich
Grotrian Steinweg
Kawai
Mason & Hamlin
Petrof
Sauter
Steingraeber & Sohnes
Steinway & Sons (from Hamburg)
Stuart & Sons
Yamaha

If you have one of those, you're a master. Jazzists and pop pianists prefer Bösendorfer as Oscar Peterson prefered, Steinway & Sons, Yamaha or Feurich.

The young German 'Carl Bechstein' went to England when he met 'Pierre Erard' the nephew of the greatest instrument maker, the French 'Sebastian Erard' who is the man who built that perfect amazig harp that we used in the symphonic orchestra to this day.
His nephew 'Pierre Erard' patented in England the mechanism of repetition and built an incredible piano, I got to play on this piano, it looks like a deceased coffin, with no ornaments in the wood, but when you play on a simple closet piano, you are amazed by the incredible sound that has.

Then, after working in England, 'Carl Bechstein' went to France to understand the mechanism of the other pianos, he also listened a lot to the complaints of that time piano virtuosos, in which one of them was, about the notes that do not rise in time to be repeated, then he sought in those famous pianos what was missing, so he could build his own.

Later 'Bechstein' met Liszt's son-in-law and asked him to get in touch with 'Liszt' for a conversation, as he wanted to know what serious pianists complained about, Liszt told him to what 'Chopin' preferred the Pleyel pianos, but 'Bechstein' succeeded to know why, all the reasons. It is good to remember that at this time all the famous pianists were death, 'Schumann' would be buried 3 years later, there was only 'Liszt' left, who still lived 33 years after met Bechstein.

In 1853 Bechstein founded his factory in Berlin, Liszt's son-in-law, 'Hans von Bülow', who is that famous piano master who cataloged the famous studies of the famous piano book, Cramer, Bülow who married Liszt's daughter, that was ex- wife of the great composer Wagner.

In 1857 in Berlin, on a Bechstein piano, Hans von Bülow gave the first public performance, by performing the difficult 'Sonata in B minor' of Liszt, sonata that appeared the first LEITMOTIV usage, that Wagner introduces in his operas and that is used by Hollywood and all World cinema until today.

Many pianists prefer Bechstein pianos to play Baroque music, Bach, Scarlatti etc, because the timbre is a bit drier, others find it suitable for any repertoire.

It is worth remembering that the reason for 1116 piano factories not be part of the hall of the best pianos, is because of the hundreds of patents that each factory has.
It is also worth remembering that the piano mechanics was only improved after 1950, before that, only has historical value, relics and museum pieces.

Since Yamaha from Japan bought Bösendorfer from Austria, it means that they can copy any patent used on those pianos, even putting almost one octave more in the bass of their pianos.

Sincerely, I hope that the Japanese of the company Yamaha, respect the tradition of the Austrian Bösendorfer and not change a single item.

The problem is that these pedal and wooden key noises definitely do not have the POTENCY POWER to reach any distant obstacle in order to trigger natural reverberation, this Bechstein piano is perfect, but whoever programmed the effects was wrong in adding the same reverb and 'DISTANCE' of the piano sound, at the same level intensity of these awful noises, which does not exist in any concert hall.
I played on the most important pianos ever made, I played in several halls and rooms with different acoustics and never heard this damper or woods bouncing in any ears, not even near the piano, sitting in front of it while Subtle noises are audible, pedal, keys, but it is very little, and who is far away does not listen.

The worst thing about this piano is 'Damper', the orignal never does that.
On the settings tab [PLAY] in [PEDALS], set both 'INTENSITY' and 'VOLUME' to 50%, and 'AUDIO-DESIGN' does not set too much AMOUNT to CHAMBER, since the piano's higher notes made a noise when notes are released.

About wood noises and pedal, they put everything in the same reverb package, despite having separate volumes and being able to set it low, the far reverberation would not return to any listener in the audience. That is physics and the distant ears do not listen, therefore, the wood did not have sufficient strength for the reverberative return.

It seems that Sympathetic Resonance is a capability that NOBODY, I said, NOBODY even understood it yet. Physics already exists and is well understood, but sound designers have not yet understood that sympathetic resonance can not be recorded without other notes being pressed, this function must be programmed through logarithms and never algorithms which is what ever they do.
The best example is the most audible harmonic by any 'simius', I mean the 'ninth harmonic', if you play the 'C1 fff' (German kontakt reference middle C = C3), after a few thousandths of a second of this 'C1' we will naturally hear the 'D4' (always in the third octave), which is why the human hearing likes and appreciates both the 9th chords in Jazz, 9th that began with Chopin and other romantics, to the extreme with Scrabin in Russia, and In France Debussy and Ravel for the whole Jazz.

This 9th harmonic will never be exacerbated, if logarithmically the note 'D4' is not pressed, ie without its felt damper.

When a pianist plays and builds any chord with the 9th and plays any bass, 19 tones below it, that 9th gains the absurd reinforcement of the natural harmonies added to the physical resonance by sympathy.

For those who do not know a little Greek and Latin, I must explain that sympathy means "SYM = TOGETHER", "Pathos = PASSION, SUFFERING", so that suffering together, is exactly that, to suffer together has to be in the same 'SYNtony' to another [BODY SOUND], but the prefix "RE" changes everything, and it means 'to redo', in this case 'to play again'.
That is, the sound happens naturally for the second time, and not everything in a package like 'ALL DIGITAL PIANOS', with control that pump up the volume of their poor calculus to simulate that. I would like to see this digital piano, would have lots of 100 GB to be build.

Another Greek word that I like, 'SINTONY, SYN= Together, [TONY or TONIA = SOUND] ie, sound together.
But [b']R[/b]esonance' = [ "SONANCY = SOUND"]. "[b]'Re/b]do' that Sound again Sam", in a nice way, in sympathy way.

If that note '19 tons' above a bass is released, it is strengthened and enlarged, because it is on the same frequency as the natural 9th harmonic, if the 7th is being played in a chord with it's low bass, it is also reinforced to the extreme , Combined, 7th and 9th produce more amplitude of this harmonics.
So when they say they resonated with sympathy, it's a lie, pure lie, there are only knobs and sliders to reinforce the natural harmonies.

The test can be done by anyone who doubts me, sits on a touch piano and strongly play the 'C1', then you will hear the "colours" of note 'D4' slowly appearing.
Then in the second test, slowly just hold down the 'D4' only to make release the felts holding that string inside the piano, while holding it down, after 10 seconds, play that same 'fortissimo' 'C1', you will hear the same note 'D4' begin to vibrate even more, as if it want to be touched by someone. But, this is it, this 'D4' was touched, but by the absurdly close relationdship it has with his best friend 'C1' 19 shades down.

The physical explanation is simple: 'C1' is in the example an 'Alpha' note, initial note, the gene that will breed harmonies and have several descendants called harmonics, while the note 'D4' is 'Beta', and beta that means 'VITA=life' in both physical and metamatic means continuity, hence the same reason we use the word 'alphabet' = alpha+beta.

It is not by chance, that the second note of the scales we use most is note D.