Classic Neapolitan songs: Yamaha G1 + Jammin HR5

Bravo Enrico, very beautiful !!

Let's get to the considerations... Personal ones.

I really like your approach towards the instrument, but I would love to hear you play something that also engages the left hand, because the evaluation of pianists is also based on that in terms of technique. Regarding interpretation, I don't feel comfortable saying anything because it's not my genre; I can only give you an opinion as a simple listener with a good ear. It all seems very consistent with the Club style you have decided to adopt.

Regarding the recording, I would take the microphones out of the piano, because I perceive the sound as being very percussive. There are essentially two reasons...

The first is that the microphones are very close to the hammer line, whereas you should position them at about 2/3 of the strings. The second is that the stand is positioned right above the piano; therefore, the microphones are affected by the vibrations generated by impacts on the structure. I don't know if the hr5 offers the possibility of orienting the microphones. In this case, if you want to continue having a "Jazzy" sound, I would set them with capsules from 90 to 135 degrees depending on the stereo level you want to achieve in an XY formation with coincident capsules, with the right microphone panned all the way to the left, and vice versa for the other microphone, all obviously mounted on a stand that has no point of contact with the piano. You must even pay attention to any cables that must not touch the instrument to avoid noise transmitted through the structure.

Compliments!

Hi Simone!

I am grateful for your technical and musical opinion.

Unfortunately, the Jammin HR5 is a toy on this front. However, I will get myself an orientable XY-type "microphone" as soon as possible.

As soon as I dust off the studio, I will try to re-record Chopin's Op. 10 No. 12.

Great! I am looking forward to a beautiful interpretation of the étude. See you soon!

Dear Foster, I really enjoyed your performances. They reminded me of those of the great Semprini, a pianist from the 50s; he often inserted the melody two octaves apart. It is a style that is very similar to his, a style that is pleasant to listen to, entertaining the listeners, caressing them, without overtaxing them. This deliberate "lightness" pleasantly offers what is commonly called "entertainment," the elegant kind, that makes the listener feel part of an important setting. Well done

Eh eh... Discovered!

Alberto Semprini was a dear friend and schoolmate of my teacher Tino who unfortunately left us last year.

They both studied with maestro Carlo Lonati at the Milan Conservatory. The same one who gave the foundation and first rudiments to Maurizio Pollini.

Thanks again Paolo for your opinion.