Easy to play, it also had excellent dynamic range, color, and sensitivity - due, I suspect, to the longer strings that its greater height makes possible. When I sampled the 52″ B252 upright, I was surprised how much it had in common with the grands. See the introduction to the Brand and Company Profiles for more information.įor those shopping for a superior vertical piano, Baldwin has done some very creative things to make the vertical not seem like one.
Most sales take place at a modest discount to this price. BALDWIN MODELS REVIEWED Prices for models in ebony finish I would highly recommend it in the mid-priced grand category. The BP178 would be a great instrument for teaching, and reminds me of the best comparably sized Kawais I have played. Of the four pianos I sampled that day, the BP178’s pedal had the greatest depth of travel, and changed the tonal color the most dramatically. In addition to the Chopin, I especially enjoyed the sounds of Gershwin, Mozart, and Prokofiev on this instrument, and bringing out different voices was effortless when playing Bach. I played the F-Major Étude, Op.10 No.8, and the piece had never felt easier to play. As such, it would be a fabulous pick for anyone who likes to practiceĬhopin études without difficulty or strain. I found the action light, nimble, and easy to control, with excellent repetition. The upper register had a wonderful natural brightness without being too percussive its clear, clean sound made it a wonderful choice for the Chopin A-minor Étude, Op.10 No.2.
The bass had an unexpected power, richness, and depth, making the Brahms Opp. The sample I played, finished in high-gloss ebony, had definite class and sophistication. It very much reminded me of the 5′ 7″ Steinway M in my home, and could easily be mistaken for a 6′ or larger piano. It would be an excellent choice for use in a full-length recital.īaldwin’s 5′ 10″ BP178 grand was very close in quality to the BP190, and, like that model, is a great fit for pianists of all levels. The sample I played, situated in Hollywood’s performance space, was finished in high-gloss ebony, and was as beautiful to look at as it was to play. As it could easily be mistaken for a 7′ grand, it would be a fine piano for a church or small concert hall, but would also be well suited for a high-class living room, studio, classroom, or choral room. The BP190 had a wonderfully orchestral sonority, and was much less percussive than the Japanese pianos I’m accustomed to playing in schools.
For volume control, the lid prop featured a mini-stick in addition to the standard half- and full-stick options - perfectly suited to accompanying singers and violinists who appreciate the richness and fullness of a grand but don’t like it overly loud. The pedal movement was a little shallow compared to that of a Steinway, for example, but easy to control. I was very impressed by its ability to repeat notes fast and reliably, and by the clean cutoff of sound when keys were released.
Baldwin digital piano model ps1300hpm full#
The key dip felt a bit shallow, as I recall it did on many Baldwin pianos past, yet I can’t remember ever sampling a Baldwin with so many tonal colors, or one so well suited to the full range of repertoire, from Bach and Chopin to Rachmaninoff and Joplin. Beginning with the largest and most expensive, I sampled a 6′ 3″ BP190 grand, which had a truly marvelous dynamic range across the entire keyboard.
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