Performance search is different and it required some trial, error and time before I became accustomed to it. Very easy to use and I quickly depended upon it. I like the button matrix for voice selection. Much has been said about the touch screen response - didn’t bother me. The main screen is clear and responsive enough. I managed to navigate through AWM2 element programming and effects without too much trouble. It took a little while to come to grips with the new user interface (UI). If you’ve been using either Montage or MODX, be ready for change. People still may choose to record exposed piano solos using virtual instruments or the real deal itself. Maybe it’s the missing VRM, Grand Expression Modeling, whatever. The APs don’t have the depth or dynamism that I hear in Clavinova, for example. Don’t get me wrong, Montage M acoustic pianos will be great for the stage, especially if the pianist is competing with guitar, drum and/or other general cacophony. Yet, with all the acoustic pianos, something was missing. The audio definitely had more clarity than MODX or even Genos (gen 1). I briefly checked out the Nashville C3, the C7, and the Felt pianos just to verify that they are there. Definitely a high-quality addition to the Montage range. It should cut through a band mix, no prob. The Hamburg Grand - a Steinway, presumably - is brighter than I expected. Might be due to the HS-8s being brighter than my studio monitors might be due to Pure Audio Circuit 2 (PAC 2). In fact, everything sounded good and clear. The CFX and Bösendorfer Imperial sounded good and clear. I dove into the pianos first, because acoustic piano (AP) sounds and practice are my primary need at this time. The demo M8x was set up at Guitar Center with two Yamaha HS-8 monitors. Grabbed this week’s music binder and tried out a Yamaha Montage M8x for an hour.
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