PX-350M
WHEN YOUR MUSIC MATTERS
Piano Sound and Feel
Compared to the previous flagship Privia ( the PX-330 ), Casio has tripled the sample size of the main piano sound . They ’ ve also adjusted the key sensors such that there ’ s a lot more going on than what you may be used to from a digital stage piano . For one , the keys transmit high-resolution MIDI to the internal sound engine ( as well as any external software that can interpret it ), so instead of 127 possible velocity values , there are 16,256 .
On a graded keyboard , the hammers are ( or seem to be ) heavier and slower in the lower range , just like on a real piano , and they get gradually lighter as you ascend . The PX-350M has this , and also something called Hammer Response , an algorithm that accounts for the time it takes for the heavier hammers to hit the strings at a given MIDI velocity . Also , the key surfaces have a prominent texture that gives your fingers grip , wicks away moisture , and makes it hard to go back to stage pianos that don ’ t have it .
The PX-350M has sustain resonance , which simulates the sound of all the strings vibrating in sympathy with actually-played notes when the damper pedal is down . Check out presets like “ Grand Piano Dolce ,” which dials in resonance like you would reverb or chorus . The effect is magical . Casio also touts AIR ( Acoustic and Intelligent Resonator ), their digital strategy for interpolating between the four velocityswitched sample levels . It works . You get smoother dynamics , finer control , and longer samples with barely noticeable loops . Slam down an octave near the bottom and it growls away for what seems like forever .
Bottom line : You have to engage the same level of mental and kinesthetic concentration that you would if playing an acoustic grand . Once you do , you have a very expressive instrument at your fingertips .
Other Sounds and Features
What Casio didn ’ t do was tamper with the already robust feature array of the previous deluxe Privia , the PX-330 . For the Rs . 8000 bump up from the PX-160 ( which features the same piano sound ), you get 250 sounds , a 17-track sequencer that records and plays MIDI files via driver-free USB2 , a programmable drum machine with 180 rhythms , auto-accompaniment , and auto-harmony — the latter two with a bit of cheese factor but darned fun nonetheless .
There are cushy Rhodes simulations , a nasty little Wurly that ’ s the goto EP on anything funky , Clavs that cut , and a serviceable smattering of organs . New in the PX-350M are a super-wide stereo string patch and some ballsy drum sounds . The bass / piano splits ( with both acoustic and electric basses ) work in many situations , and you ’ ll be grateful for the pitch-bend wheel , which you can whip out at least once a night even on piano trio gigs .
One new feature which comes out of the box — but after a couple of uses is to be found indispensible — is the audio recording . Plug in a USB flash drive , hit a couple of buttons , and you can now record anything that goes on in the instrument as a CD-quality ( 16-bit / 44.1kHz ) WAV file . This is great for capturing fleeting songwriting ideas , documenting practice for feedback from a teacher , or turning a solo gig into a demo .
The Score Magazine
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