A piano is a piano is a piano, right? Not really…
Talk to anyone who *plays* an actual hammer-and-strings piano, and they’ll all have their favourites. Whether it be a Steinway D, a Bosendorfer, Kawai, Yamaha, upright, honky tonk or others, many players have a particular favourite and sometimes take their specific favourite on tour. Some artists will expressly command a certain brand and type of piano be supplied for their concerts. Keith Emerson, of Emerson, Lake & Palmer (ELP) would strap himself to a Steinway and spin over the heads of the crowd during concerts…yeah, a Steinway. You’ll find a link at the bottom of this article to read more if you wish.
They all have different sounds, and action and responsiveness; they have different ‘curb’ appeal; and when you see someone else playing one, you want to check it out. So why did we at Number 9 fall in love with this one?
First of all there is the sound – rich, full of harmonics, stately, majestic, bright but not overly-bright, and serious bottom end thump. It was not cheap, so why would we want to supply our clients with an actual hammer-and-strings piano, when there are so many different software and digital options? Because, a software piano might be fantastic for a demo; great for a mix where you want a piano buried a bit; but when you are recording pop and jazz music where the piano is the main harmonic instrument, there is no place for a digital piano to hide. Meaning, there is nothing that can be equalled by a well tuned, well played and well recorded actual piano. No amount of multi-sampled layering and crossfading can get that close to an actual performance on a piano. Each time you strike a key or chord, different resonances occur at different harmonic frequencies. Very complex for a software program to multiplex. Sure some of them do sound good, but when you need something that can stand on its own, without tons of reverb and other instruments to mask the lack of interplay between real strings, how about a Bechstein?
A grand piano that was respected, requested and played by The Beatles, Elton John, Freddie Mercury, Nilsson, Carly Simon, Genesis and Supertramp. No slouches on the keys there. In fact, the Bechstein used to record many of the 60’s and 70’s rock bands (The Beatles “Hey Jude”; David Bowie “Ziggy Stardust; Elton John’s early LPs) at Trident Studios sold in 2008 for over $353,000 US. As referenced in an article on PianoBrands: “Preferred by pianists who play in recording studios or perform in concerts…”. ‘Nuff said…link below to read more about this spectacular piano.
It won’t cost you $353,000 to use our Bechstein. You may be able to BUY it from us for that…maybe not…let’s talk 🙂 All of our gear in the studios is included in our fantastic rates. Including the Bechstein. We can also, if you don’t have a talented ivory-tickler in your band, hire someone to bring the Bechstein to life on YOUR tracks. Plus, the room that hosts the Bechstein is designed to enhance the natural harmonics of acoustic instruments, and the piano room is the centerpiece of Number Nine’s recording facilities, which makes it the best piano recording studio in Toronto.
Come hear the Bechstein yourself, in person at Number 9. And if you can’t make it down for awhile, you can hear it come to life played by Mark Kieswetter on David Clayton-Thomas’ great new CD “Combo”, or check out this page on our site for some video ==> Piano Room Videos
For more information on Bechstein pianos, visit their site ==> Bechstein Home Page
For more information on how Bechstein is one of the best piano brands, visit ==> 10 Best Piano Brands
For more information on Keith Emerson and his rotating piano, visit ==> Keith’s Amazing Piano
For more information on Emerson, Lake & Palmer, visit ==> ELP Home Page