Comparison Roland FP-90 vs Roland F-140R

— Stationary. Stationary tools have their own stand and are designed to be installed directly on the floor. At the same time, in accordance with the name, such models are designed for constant stay in one place and are poorly suited for regular movements even within the same room, not to mention longer distances. However, this is not a disadvantage, but only a characteristic feature of such cases. But the unequivocal disadvantage of stationary tools can be called their rather high cost. On the other hand, such models are as similar as possible to real pianos in appearance, layout and equipment: the keyboard, usually, is located at a standard height, and pedals are installed in the lower part of the case (and there are usually as many as three of them, a complete set). And it is much easier to provide high-quality sound and an abundance of features in such an instrument than in a portable one — the manufacturer does not need to pay special attention to compactness and weight reduction.

— Portable. Portable are called digital pianos, made in the form of portable keyboards and devoid of stands; to play such a keyboard, you need to put it on a table or other support. Outwardly, such instruments are similar to synthesizers, and sometimes almost indistinguishable from them. At the same time, unlike synthesizers, portable digital pianos have mostly full-size keyboards with 88 keys, and displays are rarel...y equipped. And in terms of functionality, the differences are that digital pianos are more oriented towards traditional music: they can provide relatively few timbres, often do not support auto-accompaniment (see below), but provide a fairly high sound quality. If we compare portable models with stationary ones, then the key advantage of this option is obvious — the tool can be moved from place to place with relative ease and even carried with you, if you have the appropriate case. The disadvantage also naturally follows from the design — it will be extremely difficult to play such an instrument without additional support, and not every piece of furniture can play the role of such a support. So it is almost impossible for a portable digital piano to do without a stand (see "Packaging").

The presence of its own cover in the design of a digital piano.

Such a cover during off-hours closes the keyboard, and often also additional controls. This not only gives the instrument a neat appearance, but also protects the keys — primarily from dust (and dust can not only create discomfort during use, but also cause mechanical failures, accumulating under the keys).

Note that this function is typical for stationary tools (see "Body"). Portable models with lids would be too bulky and heavy, so it is suggested that they use cases or other similar devices.

The presence of built-in pedals in the design of a digital piano.

Pedals are an indispensable element of equipping a classical piano; accordingly, they are often provided in digital counterparts. Actually, this function is practically obligatory for models of a stationary layout (see "Hull"). But in portable ones, on the contrary, built-in pedals are not found — there is simply nowhere to install them, external plug-in pedals are available for such models (see below).

The traditional number of built-in pedals is three; there are practically no other options in a power tool. Note that in many models, the specific functions of the pedals can change depending on the set timbre, or even manually, at the request of the musician.

The number of voices supported by the digital piano — more precisely, the maximum number of voices that the instrument can play at the same time.

This parameter should not be confused with the number of notes that can be played simultaneously on the keyboard. The fact is that in many timbres, several voices (tone generators) are used for each note at once — this is the only way to achieve a more or less reliable sound. Thus, the required number of voices can be many times higher than the number of notes — for example, the simplest chord of 3 notes may require 9 or even 12 voices. In addition, tone generators are used to play auto accompaniment parts and built-in songs (see below), and here the number of voices can already be measured in tens.

In light of all this, polyphony of less than 90 voices is typical mainly for relatively simple and inexpensive instruments that are not designed for complex tasks. The smallest number found in modern digital pianos is 32 voices. It is desirable for a more or less solid instrument to have at least 96 voices, and in top models this figure can reach 256.

The number of built-in sounds provided by the Digital Piano.

Despite the name, digital pianos are extremely rarely designed to imitate the sound of only a piano — the electronic hardware allows them to provide other timbres of sound. In addition, even the piano has its own varieties — for example, among the grand pianos there are 6 main classes, from large concert to miniature. So the built-in sounds can cover different kinds of pianos, as well as other instruments and sound effects.

The abundance and variety of timbres in digital pianos as a whole is not as great as in synthesizers, however, in this category there are very “charged” models, with a hundred timbres or more (in the most multifunctional, this number can exceed 900). However, it is worth specifically looking for a “multi-instrumental” model if you do not intend to be limited to the sound of the piano and would like to have more freedom of choice. It is worth remembering that a specific set of timbres can be different.

If the instrument is bought exclusively as a piano, then here, on the contrary, it is worth paying attention primarily to solutions with a small number of timbres. Such models are not only cheaper than "universals" — they can also sound better (due to the fact that there are few timbres and the manufacturer can carefully approach the sound quality of each built-in "instrument").

The number of Auto Accompaniment Styles (see above) originally stored in Digital Piano memory.

Different auto accompaniment styles differ from each other in the same way that different melodies differ from each other — in tempo, time signature, rhythmic pattern, set of instruments used, etc. Accordingly, the more styles initially available in the instrument, the wider the choice of the musician and the higher the probability of finding the option that best suits a particular situation. However even numerous styles does not guarantee that among them there will be a suitable one; in addition, we note that with the same number of styles, their specific set in different instruments can also be different. However, custom styles can be provided for this case (see below).

Summarizing, we can say this: if you plan to work intensively with auto accompaniment, in addition to the number of styles, it will not hurt to clarify their specific range.

The ability to change the brightness of the sound of certain timbres or tracks.

Brightness determines the overall colour of the sound — from soft, smoothed to sonorous, sharp. This feature allows the player to adjust this coloration to their preference, and thus further expands the possibilities for customizing the sound of the instrument.

Additional features and sound customization options provided by the instrument in addition to those listed above. In this paragraph, usually, various original proprietary technologies and solutions are indicated; the specific meaning of these functions is best specified in the documentation for the tool.

— Mini-jack (linear). Any line input is designed to receive an audio signal in analogue format. Such an audio signal can be played back by the instrument itself through the built-in speakers, external speakers or headphones, switched to external equipment (for example, an amplifier or audio receiver), or recorded (if you have a sequencer, see above). In digital pianos, the most popular is the first option — playback; typically, the line-in sound either serves as an accompaniment to the main part or provides additional effects. As for the mini-Jack standard, this is a miniature plug, also called "3.5 mm" and known to many as a standard audio jack on a smartphone, laptop or computer. However, this standard is also very popular in digital pianos — among external signal sources, mini-Jack plugs are generally more common than full-size Jacks.

— Jack (linear). Line input using a Jack type connector (aka "6.35 mm"). In terms of purpose, such an input does not differ from the mini-Jack type input described above. As for the connector, it is almost 2 times larger than the mini-Jack in diameter — however, given the dimensions of digital pianos, this cannot be called a serious drawback. At the same time, the Jack socket provides a better and more reliable connection, with less likelihood of interference. At the same time, for a number of reasons, this type of connector is used somewhat less frequently in digital pianos.

— MIDI in. An...input that allows the Digital Piano to receive MIDI signals from external equipment. MIDI is a standard signal format in electronic musical instruments; such a signal (MIDI-event) is created for each keystroke and contains information about the note number, strength, speed and duration of pressing; these signals can then be recorded and/or played back in a specific tone. The ability to receive MIDI events from external devices can be useful, for example, when playing two keyboard instruments at once (to play all the music on one of them, with better sound quality), or to use the digital piano as an adapter for another instrument that does not having the desired tones. In addition, technically, a MIDI signal can be switched to other devices (see "Outputs — MIDI thru").

— USB to device (type A). USB connector that allows you to connect various external devices to the digital piano. However, most often the range of such devices is limited to "flash drives" and other drives. However, even this functionality can provide very extensive additional features: you can play backing melodies from a flash drive, update user timbres and auto-accompaniment styles (see above) or even instrument firmware, and copy materials recorded by a sequencer to a flash drive (or even write music directly). ), etc. Specific features in different models may be different, this point should be clarified separately.

— Card reader. A device for reading memory cards — usually, the popular SD format. By purpose, this function is similar to working with a USB flash drive (see above), adjusted for the fact that memory cards will be convenient primarily when exchanging data with a laptop — almost all modern laptops are equipped with card readers, which cannot be said about desktop PCs.