Who's ignoring digitals? They are fascinating, as is each stage of development (well, maybe not a Betsy Ross spinet). I have a synthesizer. No better way to input a tune into the computer. My dearest friend is a professional composer and pianist who uses a digital piano like object (DPLO) for his work, including composing sonatas for harpsichord (don't worry Stephen we make sure he gets real harpsichords to refine them on). He uses the same keyboard for MIDI orchestrations. He longs for a compact MIDI keyboard with far better touch and sound though. I'll take suggestions of people's favorites if they are willing. As do I so I can rapidly demonstrate and try different temperaments. I would assume all these bright pianer tooners can adapt to working on digitals. There are still mechanical parts, and advice to give, parts to sell. It will just be different. They adapted to SATs and laptops. So you take a new set of training courses. Besides, the acoustic is far from dead. When they are running partial differentials on all the possible combinations of undamped tones within an acoustic box, then I'll have some faith in their sampling. You cannot experience the beach by looking at individual grains of sand. You cannot model a Killer B by sampling individual notes played at one acceleration and intensity. ab -- who dreams of having one of everything available to play within a half hour drive Anne Beetem Harpsichords & Historic Pianos 2070 Bingham Ct. Reston, VA 20191 abeetem@wizard.net
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