You are asking a question that only you can answer, ultimately.

We can give you some facts... it will still be your decision.

The MODX-series is the replacement for the MOXF-series, as second tier Music Synthesizers. It is a MONTAGE designed to be lighter and more cost friendly. And while it is, on a factor of 7 to 10 times more powerful than its MOXF predecessor, it incorporates all that the MOXF did (excluding the Song/Pattern Modes) plus adds a complete FM-X synth engine.

The CP4 Stage is a dedicated Stage Piano with wooden key action, triple sensors, SCM (Spectral Component Modeling) + AWM2 sample-based engines. The keybed action is among the best found in an instrument you can consider picking up and taking to a gig, period.

The reason the Stage Piano category exists has to do with the details of getting performing acoustic and electric piano sounds, correct. Taking personal opinion out of the equation... a Music Synthesizer is designed to do a wide variety of sounds and be the ultimate in programmability and adjustability. A Stage Piano is designed to concentrate its focus on a specific category of sound... both sound and feel.

The NW-GH action, (wooden white key, synthetic Ivory-top, triple sensor) is a superior piano weighted action and sits near the very top of keyboard actions made by Yamaha... a company with 130 years of making actions. So when it comes to comparing the action... that is NOT even fair.

This doesn’t mean a thing, in the bigger picture which is what *you* prefer. If you play a piano weighted action, it feels ideal for playing acoustic and even electric pianos... but it does little to help when performing strings, flutes, brass ensembles, B3 organs, clavinets, etc... but this personal taste.

There are folks that buy an instrument for a range of reasons...
I’m just giving reasons why the different options exists.

If you are asking is the action of the CP4 Stage different from the action of the MODX8. Yes.
If you are asking how is the piano sound... the CP4 Stage incorporates a specific unique technology to recreate its principal sounds. While there is some similarities in the tech, each approaches sound creation with a different set of rules. In the end all that matters is the sound...

...you are asking questions that only you playing it can answer. Others can give you their opinion (which really is just their own) you are asking “If I try on those shoes, will they fit my feet?”

In the end, you have to try them on and walk around in them a bit. Only you will know if they pinch your toes or if they are a perfect fit.

If price (and logistics) were no object, you’d have both a Stage Piano and a Music Synthesizer. That’s easy!

Hi Bad Mister,

this sounds reasonable. Many thanks for your clear and helpful feedback.

Kind regards,

Gerd

I totally agree with everything BM wrote. You have to choose and the only way is to try.

As an additional data point if you think if it is even worth trying: I used to have a Nord Piano 2 HP and a Roland Integra. I sold those and am using only the MODX 8 live. I am very satisfied with the piano sounds, actually prefer them over the Nord. The keybed is also better in the MODX (but note that I had the HP which is a portable version).

And then of course I have the full synth engine of the MODX which can easily compete with the Integra. So I got better sound, better keybed and less to haul and a less complex setup. So I think it is worth it - for me.

Thanks Stefan for your response

Just another question: is the Montage 8 better than the MODX8? Is the keyboard and touch also better? Or is it the same?

Montage 8 has a very different keyboard. It is supposed to be much better, being from the higher priced tiers, but in the end your personal taste has to decide. The sound is - for my ears - the same, though.

The keybed is a big difference. As already mentioned, you'll have to play each to know how they jive with you.

I'm not sure if your question is limited to the keybed ...

The next item, for me, is the control surface difference between the two keyboards. I use many of the buttons on the Montage that MODX got rid of. I'm not a fan of using the touch-screen and rely on buttons when I can. When I'm programming, I do use the touchscreen more (than when on the gig). When trying out the MODX, I noticed some things I "do" which I missed and wasn't going to trade in the Montage for a lighter MODX. At least not at this time.

MODX doesn't have the ribbon controller. I do not use the ribbon controller much since I never had one before - but that may make a difference. Montage has it.

Having half of the knobs and buttons and sliders (assignable knobs/scene buttons/volume sliders) available at one time although a difference does not phase me. I hardly use more than 4 scene buttons as it is. And I do not really use the sliders or knobs on the gig since I use scenes. This is way different than how others use the keyboard -- so it doesn't speak to everyone. That said - I think this difference in the control surface is something that is manageable considering you have buttons to bank the switches/knobs/sliders.

It's the right-hand-side ARP buttons, category shortcuts, live set shortcuts, etc. that I'm missing.

The USB volume knob that MODX8 has vs. that same knob missing on Montage8 is a negative for Montage. I've had situations in the studio where I need to fool with the USB volume and menu diving is a drag vs. turning a knob.

Placement of the pitch/mod wheels may matter to you. I've never liked the placement of the MO(8) pitch/mod wheels in back vs. on side. This may not matter to you. I think this is something you get accustomed to.

Missing the AssignL&R output means there are some audio routing options you do not have. This is scuba-level stuff and probably not something to decide one board vs. the other. But Montage does have more flexibility for self-generating outputs to feed back into itself (for vocoder, sidechain, etc).

Montage has more sample memory. A little more than 3/4 more. I think you learn to live within the limits of either. This shouldn't be game-changing.

Polyphony on FM-X (double for Montage) shouldn't be a game changer.

I gig with my instruments. The Montage8 was way too heavy. I couldn't schlep it. The MODX8 wins big time there. If I had to have an 88 key - I could live with MODX even with the missing buttons on the control surface and other "downsizing".

Hi Gerd,

I have just bought the MODX8 and the action is pretty good, quite heavy. Heavier than a Kurzweil if that’s any help, but yes you’d really need to try one.
It’s really light to carry, and has nearly all the features of the Montage.

The pianos are ok, quite clean which I think would be great for a band situation (not tried it yet) but maybe a bit lacking for solo work.
If you already have a laptop (the MODX already acts as the interface) I’d consider adding the Garritan CFX piano (the Yamaha from Abbey Road Studios) which sounds great and is very flexible to program.

Just a thought.
Best of luck with your decision.

Hi all,

many thanks for your comments. This was really helpful.

Kind regards,

Gerd

You may want to check if the Bosendorfer promo is still available. This would be a library of additional piano sounds.

Thanks!

I wonder if I keep my CP4 and I control the MODX by midi, of the piano sounds will be able to receive all the nuances I have in the CP4....

If you keep your CP4 why don’t you then use its piano sounds? If you have a problem with input channels on your amp or mixer you can feed the CP4 output in the analog input of the MODX and it comes out of the MODX output. You can even store in each MODX performance the volume of the CP4 sound...

Hi,

Thanks for the suggestion.
because I want to try the Bösendorfer piano instead of the CXF and I was wondering if there was a difference in using the keybed of the cp4 instead of the keybed of the MODX8. Will the MODX8 will be able to intereprete all the keybed parameters of the CP4?

Kind regards,

Gerd

The triple sensor of the CP4 must have unique properties that are tailored to the internal sounds. Sometimes triple sensors are used to send note-off velocities. Neither the CP4 nor MODX support note-off velocity. The literature suggests the triple sensor can be used in order to keep the damper felt for the key you are articulating raised while re-striking the same key instead of having to come "full off" (as MODX) which lowers the damper felt for the key before the virtual hammer strikes the note again. I'm not sure how this would ever be transmitted through MIDI out of the CP4 to make any difference, in operation, using the CP4 to control MODX.

Furthermore, CP4 does not have aftertouch - so although a different external MIDI keyboard (with channel aftertouch) could expand the MODX's capabilities - I do not see the CP4 offering such a difference.

The difference you will experience is with the feel of the instrument.

I'm not sure if you can setup the CP4 to send a note-off when the 1st sensor is "open" from a key release. This may change the feel slightly. I would think the implementation would wait for the last sensor to open before sending the note off when used as a controller. The net result would be you could possibly restrike the same note faster than having the angle of the key come close to all the way up.