![]() ![]() Four pipe organs provide registrations from sparse to full, and all sound lovely given a combination of the onboard reverb and the piano’s natural acoustics. Sparkly DX7-style electric piano, Rhodes, and Wurly are covered accurately and are fun to play, though the latter two could have a bit more attitude. Digital sectionįeature-wise, the U1TA’s digital sound engine is akin to a fairly basic digital slab piano, albeit with the stunning multisample of Yamaha’s CFX concert grand I first encountered in the NU1 taking center stage. I’d even mike the U1TA for recording a layer of piano and another sound where I wanted everything to seem like it’s coming from the same acoustic space. Even if I disengaged the acoustic side using the mechanical “silent piano” feature (more on this shortly) and listened to just the digital sounds, I was hard pressed to localize their origin to where those transducers actually sit all the sound was just wonderfully there. With the U1TA, sampled grand, electric pianos, strings, and other sounds “bloom” from within the piano and benefit from its natural reverb in the exact same way as the piano’s own strings. With every other type of acoustic-piano-plus-digital layering I’ve experimented with, I could never quite get away from the sense that the digitally-generated sounds were coming from point-sources different from the piano itself-even if the speakers were cleverly integrated into the piano’s cabinetry. What does this sound like in practice? Incredibly convincing. In effect, the soundboard plays the role of “speaker cone.” The image at left shows a closeup of the whole assembly. When the speaker is energized, the voice coil’s movements vibrate the soundboard without weighing it down. The magnet and other heavy bits are mounted on the surrounding bracing, such that the voice coil can surround the magnet without actually touching it. The coil is so lightweight that it doesn’t cause any dampening issues. Only the voice coil-the little wire-wrapped cylinder from which the rest of a conventional speaker funnels out-is mounted on the soundboard itself. Yamaha’s solution is basically to split the difference. ![]()
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