Ambitus II
Some pre-performance thoughts - on the KEYBIRD piano.
It was so intriguing to have a suggestion about changing a gig format only half revealed on a recent phone message preview. As I scrolled up for the full read - I was not expecting the change to amount to a potential chance to perform on this wonderful new take on a piano https://keybird-instruments.com/keybird-x1/ .
Although really cold (in the UK) - I stood near frozen in surprise halfway to the gym - getting the website all saved to favourites for a more in depth look later that day. I certainly have done since then! Thanks to Jez Matthews for this proposal and to Adam Fairhall in advance usage of his Keybird.
So where to start with this…. I was about to add it to the first Ambitus post - but thought it should have its own. Especially as I am about to have the privilege of performing on it soon - so it inspires many questions and anticipations.
It is one of the most recent in a bunch of piano innovations - and has a number of potential game changing elements:
The Design.
From Lego, Hans Christian Andersen, Bang & Olufsen, Bjarke Ingels and beyond - I write perhaps to state the obvious: an education that values creativity - reaps huge and varied rewards (UK are you listening!). The context for redesign is no different especially with something as long established as the piano! I had no idea quite what I was looking at as the image scrolled into view - and was instantly stunned. It reminded me of the Klavins Una Corda https://klavins-pianos.com/products/una-corda/. But inspite of the similarity in one string per key - I think the Keybird invites you in. The Klavins almost says to me - ‘think you can play me?!!’ I love that this contrast/variety exists - around such a specific design of piano…
The Sound.
Obviously this is primarily from the various videos I have listened too - and I really like. I was not expecting the warmth given the open design (which is heightened with the felt attachment of course). And it has a smaller dynamic range overall - no surprise with the one string per key running throughout the instrument. As a composer I would love to spend time creating and seeing where this takes things (as I have many pieces in mind for the show thanks to this online preview! But nothing would beat extended time on the KB…
Check out this customised one - I love the flavour the leather strips give to both tone and tuning. I am sure Satie would have loved this…
(Thanks to Stephen Gauer - beautiful version - and a fantastic series building at his YouTube channel on this piano. All new for 2024…)
The Encouragement to tune!
Please send me any info on a previous piano make that has actively encouraged its market to get into the mechanics of tuning!! From hearing many a legend about Keith Jarrett’s exactitude over pianos with certain qualities - to Alfred Brendel matter of factly doing the tuning himself if still unsatisfied with the previous result - the sales of a piano with a tuning lever I think is unheard of!! The five years of furninture school were more than enough to scare me off of trying to answer why pianists would probably not be likely to tune anywhere near as often as other instrumentalists.
(Check out https://darrylspiano.com/2017/10/15/why-all-pianists-should-learn-the-basics-of-piano-tuning/ amongst several often really funny posts on the subject).
I think this warm approach to closing the distance between so may taken for granted facets of advanced (acoustic and not electronic) technology refined over several centuries - and the ability to musically play the result is to be welcomed. One hundred parts per key is still collective and individual genius - and to be reminded of this in a 21st century fashion - through a connection also with a free app to help the tuning process is a brilliant idea stylishly executed here.
The Portability
I know this may raise a smirk or more - but compared to the moving of a regular upright - this is again feels like new territory. (Please if there are examples of an acoustic piano that even just two people could regularly and efficiently transport - let us know!). I would love to know how far down the design path that this idea first became a reality…from the start? I have great memories of doing a number of rural touring tours with Cuban violin maestro Omar Puente in several widely spread regions of the UK. This piano would have been a dream for that type of activity. Instead of a PA and electric violin and keyboard - the equivalent physical effort (or less!) gone into assembling this piano at each show to be acoustically self sufficient is amazing to say the least. I don’t think this will be carried onto the underground subway or metro anytime soon (but then again - I write this after having witnessed yiḏaki/mandapul (didgeridoo) at Kings X station just a few days ago!)
Sustainable Production
The open design means there looks like quite a lot less wood is used per piano. The whole thing looks more frame like and inviting you into the beauty normally hidden. The means of sound production is directly present and under scrutiny in action. And the lightness means much less energy needed to transport. I can’t find the only unboxing video I have seen of this piano as I liked the thought that had gone into the packaging materials as well. And as for two people unwrapping and setting up a piano (this one I think went up one flight of stairs) - I hope I get to see more of these vids!
The Cost
One of the nearest comparisons (from a quick search) is the Kawai K15 upright (198kg)…or electric pianos - Roland LX708-PE digital piano (100kg min.). There are a number of pianos and keyboards available in this price area - but I cannot see anything (as yet) that quite matches the combination within the Keybird. There was a price increase after the first batch went out (https://keybird-instruments.com/faq). I hope given these are the early years of this being on sale - and with a positive uptake - that the price will come down. Paying in instalments and educational deals would also help open up further access to an instrument that could usher in a new educational era for the piano.
I guess you can tell I am excited to see how the story unfolds for this beautiful contribution to the piano’s present and future. If anyone reading this has been working with a Keybird - I would love to hear how it has been going - and of course - the music as a result…
I can’t yet comment on the feel and sensitivity of the action and pedal mechanism. I look forward to writing about that next - after the show!
Link:
20th March Lescar Jazz - Sheffield (UK)
http://www.jazzatthelescar.com/