The instrument
Most of the works available here were performed and recorded on a Yamaha CP300 stage piano.
The main selling point for the instrument was a fantastic keyboard which was the only model from the ones I’ve tried which came so close to an actual analog piano mechanism that it is at times indistinguishable. I wanted an instrument which won’t cut me to ribbons by crippling my playing technique. And it’s really far too easy to get your hands used to the instrument you play the most.
Another thing which was equally important for me is to think about the piano as an instrument of its own. I wanted an instrument which I can use without any other hardware turned on. Basically, this means that the internal sound of the grand piano had to be convincing enough for me to actually enjoy playing it. And CP300 sure does have a grand piano that sounds good. And boy does this machine sound good. The sample set for the Grand Piano 1 sound has layered samples both in terms of volume and sound frequency. To put it in Now, after a while with it I can point out the little things that sound different than on an analog instrument. There are also some simplifications in terms of the sound structure building up. But this only turned out after using the instrument for a year, and still is a matter of difference recognition, and not being disappointed by the difference.
The approach to take the piano as an independent instrument on its own meant also that it had to have its own built-in amplifier and a set of speakers. Only later it turned out that it was the most important little thing that makes all the difference. The thing is that the quite powerful built-in speakers generate a delicate tactile feedback on the keyboard while playing. The instrument does not only sound pretty real, it does feel real.
I may mention that of course the decision to buy an electric stage piano was a conscious one. I wanted an e-piano mostly for the ability to control other MIDI hardware (like a computer). Also, the ability to adjust the volume to your surroundings (going as far as working with the headphones only) is very usefu to have. Plus, I occasionally benefit from the additional mobility a stage piano provides.
The last important factor, what was a surprise for me and a feature I did not plan for, is that the device contains a very handy sequencer which is key to my recording method.
As a side note, the background image on the top of this page presents an actual CP300 keyboard.
The interface
The audio interface used to record the performance is a PreSonus Firepod. This was the toughest part to select. I needed an external device to be able to use it with laptops (an old Asus at the time of purchase). There is a great variety of audio interfaces on the market, most of them being USB-based. I already had bad experience with USB-based external drives and some of my friends warned me that audio interfaces using USB tend to be unpredictable.
I went for Firewire. These devices are generally significantly more expensive and there seems to be a plethora of brands unknown to a regular consumer without prior experience in pro and semi-pro audio hardware. The advantages of the Firepod and the main reason why it was chosen were: 96kHz/24bit operation, MIDI, the number of TRS/XLR inputs, separate gain knob for every input, the ability to work without a PC connected, and a separate hardware phones amplifier.
To be honest, it wasn’t the best choice. I was aware that the separate gain knobs are not perfect but when I found out that some of them were positioned differently due to production imprecision, I returned the unit. I’ve got another one and this one has an annoying buzz when in 88.2 or 96kHz mode. This thing is not easily reproducible but is recognised by the produced. Unfortunately, I’m located in Europe and they refused to repair it. Tough luck, the next one will definitely not be PreSonus. It’s a shame, especially considered that the sound quality of the pre-amps is pristine.
The monitors
The monitors used while mastering are a pair of Yamaha HS5. To be honest, I did not know what to select in terms of audio monitors. The stores in Poland are not very inclined to let customers try the equipment before the purchase. In consequence, I just bought what professional musicians I know told me.
This was a good decision. The monitors are very analytical in terms of sound. Different instruments and layers can be easily distinguished in properly mastered recordings. Weak quality MP3s are a real pain to listen to, stereo separation problems and background sound cutting and distortion are in the clear view for the listener.