🎙 Episode 59 – It’s Our Job

Welcome to Piano, Finally. This week brings a few changes in how the show is recorded. The entire episode has been produced in Cubase using Steinberg’s SpectraLayers for audio processing. Recording the MIDI data from the Kawai NV10 directly into Cubase has improved the quality of the piano sound—now I just need to work on improving my playing!

A warm welcome to new listeners who found the show through Marc Larochelle’s My Keys To Music newsletter. Thank you for joining the journey.

YouTube Feature – The Music Tab
Instead of a single channel, this week’s tip is to explore the Music tab in YouTube. You’ll find recommended videos across every style: brass arrangements, classical favourites, pop, rock, even oddities like “I’m a Barbie Girl in the style of six composers.” Clicking on things you wouldn’t normally listen to is a simple way to expand your musical horizons.

Essay – It’s Our Job
Jaime Martín’s pre-concert story about how hearing Pictures at an Exhibition changed his life sparked this week’s reflection. Every musician starts with a first experience. But with music education often shrinking, who is going to give kids those first experiences now? It has become our job.
Take the young people in your life to hear music that won’t come from a social media algorithm—live orchestras, jazz, folk, choirs. Every performance is a chance to spark curiosity and broaden their world.

Review – Editors Keys for Cubase
Learning Cubase can feel like learning a whole new language. This week I’ve been using a new keyboard from Editors Keys designed for Cubase. It has colour-coded keys and printed shortcuts, making it much faster to navigate. It’s Bluetooth and backlit, but I keep it plugged in so I don’t have to worry about battery life.
Editors Keys Keyboards

Theatre – Trophy Boys
At Carriageworks, I caught Trophy Boys, a sharp, funny and powerful play about private school debaters preparing for a final round. Performed by a female and non-binary cast, it’s on until 3 August.
More on the play

Progress
This week’s practice pieces are Spindler’s Canon, Türk’s Bagatelle in F, Craggs’s Afternoon Snooze and Blackout Blues, all recorded on the Kawai NV10 using the Native Instruments Claire Fazioli piano.

The contents of this podcast were entirely generated by a human. These show notes, however, were created by ChatGPT.

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All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.

🎙 Episode 58 – Listening In

G’day and welcome back to Piano, Finally—where a bloke learning piano later in life reports in from yet another theatre foyer. This week’s episode was written from the Northern Foyer of the Sydney Opera House, in the sunlight beneath John Olsen’s mural Salute to Slessor’s 5 Bells. A pre-concert talk with Jaime Martín and Genevieve Lang turned out to be one of the highlights of the week—more on that later.

🎨 More on the mural

📺 YouTube Feature – Aspen Music Festival and School

The Aspen Festival is back, and even if you can’t be there in person, you can still tune in from home. There are seven livestreams on their YouTube channel and on their Virtual Stage, featuring student and professional performances. Highly recommended if you’re looking for fresh inspiration or a reminder of just how good live music can be.

🎥 Aspen’s YouTube Channel

📝 Essay – Listening In

A Bill Hilton podcast sparked this week’s reflection: should we listen to recordings of the pieces we’re learning? For most of us, the answer is yes. Whether it’s YouTube performances of AMEB pieces (like Blackout Blues), a demo from your piano teacher, or a playback from notation software like Dorico or MuseScore, hearing a piece before (or while) learning it can be a huge help. And thanks to playback tools, you can even slow it down for practice or play along without needing a metronome.

🎹 Nord Stage 4 Review – The Effects Section

We wrap up the main parts of the Nord Stage 4 with a look at the effects engine. From reverb (room, hall, cathedral) to filters, phasers, delays, rotary speakers and more—there are dozens of ways to shape your sound, and most come with dual variations. The real challenge? Knowing when to stop tweaking.

🎼 Progress

Back to Wild Chase this week—polishing bars 9–16 and rounding out the ending. It’s shaping up well for the September showcase.

Also included: early work on Riders on the Storm using the Nord Stage 4 and presets from My Keys To Music. The sound is right, but the timing still needs work.

🎶 Pre-concert talk highlight: conductor Jaime Martín on childhood concerts, music in classrooms, and what Taylor Swift has in common with Diaghilev. A brilliant conversation hosted by Genevieve Lang.

🎼 More on the pre-concert talks

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You can contact me:

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Some of the links to books and other items mentioned in the podcast are affiliate links for Amazon or other providers. If you use one of these links, a commission may be paid to me at no additional cost to you. Thank you if you use a link.
All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.

🎙 Episode 57 – Reading and Writing

Welcome to Piano, Finally, a podcast about learning the piano—later in life and without the pressure. This week’s episode has been recorded a day early as I head off to the Opera House for another concert in the Sydney Symphony Orchestra’s subscription series—more on that next week.

🎧 The latest episode of the Chopin Podcast focuses on the Polonaises, including one I hadn’t heard before: the Polonaise-Fantaisie, which has quickly become a favourite. Denis Zhdanov’s performance on YouTube is a good place to start—though the double flats in bar four suggest it’ll be a while before I try playing it.

🎭 I also caught Prima Facie at Carriageworks this week—powerfully performed by Sof Forrest in a one-person show. A brilliant actor in a confronting work staged by Black Swan Theatre Company. If you see it advertised, make time—but check the content warnings.
More on the production

📺 YouTube Spotlight – James Shawcross
If you’ve ever wondered what hidden pianos lurk in American thrift shops and antique stores, James Shawcross’s new channel is for you. He plays the pianos as he finds them—no tuning, no touch-ups—just character. His earlier channel, The Piano Forever, also has some lovely playing and thoughtful commentary from a younger James.

📝 Essay – Reading and Writing
This week’s reflection connects two developing skills: improvising and musical literacy. Inspired by Devi’s suggestion, I’ve started experimenting with basic improvisation (hint: two low Cs go a long way). While I’m not composing yet, I’ve realised that music reading feels a lot like early language development—sounding out notes like syllables, slowly growing into musical fluency. If we’ve learned to write entire essays and emails, maybe staff notation isn't so impossible after all.

🎹 Nord Stage 4 Review – Sampling
We wrap up the review of the Nord’s synthesiser section by looking at its sampling capabilities. You can trigger ambient sounds (like thunder and rain for Riders on the Storm), or load full sample libraries of other instruments. The Nord Sample Editor lets you build your own playable samples—imagine turning your mandolin into a Nord patch. Check out Nord’s tutorial here.

🎼 Progress
Still working on Wild Chase by Wynn-Anne Rossi, now officially chosen as my piece for Devi’s September showcase (if I can get it there). Recorded on the Kawai NV10 with the Claire Fazioli f308 virtual piano.

🎶 Sydney Symphony: Ravel and Falla

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You can contact me:

• via email at david@pianofinally.show; this is probably the best option
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• all the podcast directories - list
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Some of the links to books and other items mentioned in the podcast are affiliate links for Amazon or other providers. If you use one of these links, a commission may be paid to me at no additional cost to you. Thank you if you use a link.
All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.

🎙 Episode 56 – Leaving Evidence

G’day, and welcome back to Piano, Finally, where each week I share the detours, lessons, and progress from learning piano later in life. This week’s episode was written from the foyer of the Bell Shakespeare Company’s theatre, ahead of a performance of Coriolanus—more on that at the end.

🎭 Term’s over, holidays have begun, and with piano lessons on break too, I’m gearing up for more time at the keys. Devi’s set a new goal for next term: get off the page and start improvising. She’s also locked in the date for this year’s piano showcase—Saturday, 21 September.

📺 YouTube Feature – Improvising Like the Masters
A timely find: Tom Donald from the London Contemporary School of Piano improvises well-known melodies in the styles of Bach, Mozart, Chopin, Rachmaninov, Messiaen, and more. It’s not a polished performance video—he talks through what he’s doing and leaves the rough bits in. It’s thoughtful, human, and inspiring. Watch it here and also check out his companion video.
LCSP Website

📝 Essay – Leaving Evidence
Thinking about history, The Rest Is History podcast, and how future historians figure out what happened… led me to wonder: how are we documenting our piano journeys? With modern phones, recording your playing is easier than ever—and worth doing. It helps you see progress, keeps motivation up, and creates a record of how far you’ve come. It doesn’t need to be public—YouTube and Instagram both offer private uploads—but it should exist. Leave yourself some evidence.
The Rest Is History Live Tour

🎹 Nord Stage 4 Review – The Synthesiser Section
This week, I explore the Nord Stage 4’s synthesisers. With three independent synth engines—subtractive, FM, and sample-based—you can combine sounds in endless ways. I’m currently learning sound design through Syntorial, and the Nord keeps up beautifully. Waveform visualisation on the Stage 4’s second display has been a huge help. A full FM section review is coming soon.
Want to try your own custom setups? Marc Larochelle of My Keys To Music has some brilliant ones, including a Riders on the Storm setup with thunderstorm samples. I’m working on it… but it’s not quite ready for public ears yet.

🎼 Progress
Just one piece this week: Wild Chase by Wynn-Anne Rossi. I’m through the first eight bars and working on the next. It’s one of those pieces where both hands have to be involved from the start. Still too slow, but hey—“As fast as you can” is relative.
Played on the Kawai NV10 with the Claire Fazioli f308 virtual piano by Native Instruments. Claire Bundl

Send me a text message.

You can contact me:

• via email at david@pianofinally.show; this is probably the best option
• the show website, www.pianofinally.show
• Instagram and Threads @pianofinally
• and on YouTube
• all the podcast directories - list
• here's the RSS feed

Some of the links to books and other items mentioned in the podcast are affiliate links for Amazon or other providers. If you use one of these links, a commission may be paid to me at no additional cost to you. Thank you if you use a link.
All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.

🎙 Episode 55 – Play Like No One Is Listening

G’day and welcome back to Piano, Finally, where an old bloke keeps learning the piano, one step (and one podcast) at a time.

This week’s script was written in the foyer of Carriageworks ahead of Aphrodite, a world premiere chamber opera by Nico Muhly. The venue, with its industrial charm and bold programming, is perfect for discovering new voices—and maybe a future Taylor Swift. More on the opera at the end of the episode.
🎭 Aphrodite at Carriageworks

🎸 Friday’s school carnival featured the annual Battle of the Bands—loud, fun, and featuring some talented Year 8 students. I only caught one band in between dunk tank duties, but it was great to see so many students skipping the rides and cheering on their friends.

🎧 This episode sounds a little different again—thanks to a second Rode NT1 mic that lets me speak and play at the same time. We’ll see how it goes.

📺 YouTube Spotlight – Zarty – Music
Discovered via algorithm magic, Zarty’s video “STOP PLEASE 21 Classical Accompaniments that are not Alberti Bass” was a revelation. Zarty breaks down alternatives to the classic Alberti pattern, showing each one in isolation and in Mozart context. His clear explanations and clean presentation make it easy to understand how accompaniment shapes the feel of a piece. Highly recommended for anyone struggling with left-hand patterns (like me on a bad day).

📝 Essay – Play Like No One Is Listening
Inspired by that old quote about dancing, I reflect this week on playing the piano as if no one is listening—even when they are. As hobbyist pianists, we’re lucky. No exams, no assessments, just the joy of learning and sharing music. Whether it's sneaking in a few bars during a music class cover or trying out the school grand piano after hours, I’ve learned that playing publicly—even informally—can be liberating and fun when there’s no pressure. Don’t wait for perfection. Share the music.

🎹 Nord Stage 4 Review – The Organs
We continue our Nord Stage 4 deep dive with the organ section. With two independent organs, full drawbar control, and models like the Hammond B3, Vox Continental, Farfisa, and two pipe organs, there’s plenty to explore. You can blend layers, apply vibrato and chorus, and even use pitch bend and sustain creatively. Nord Stage 4 Overview

🎼 Progress & Piano Talk
This week’s practice includes four pieces I’ve been maintaining, now played using a new virtual instrument—Claire by Native Instruments, sampling the legendary Fazioli f308. It’s not the $400k real thing, but it’s close enough through headphones. Claire Bundle

Until next week, play like no one is list

Send me a text message.

You can contact me:

• via email at david@pianofinally.show; this is probably the best option
• the show website, www.pianofinally.show
• Instagram and Threads @pianofinally
• and on YouTube
• all the podcast directories - list
• here's the RSS feed

Some of the links to books and other items mentioned in the podcast are affiliate links for Amazon or other providers. If you use one of these links, a commission may be paid to me at no additional cost to you. Thank you if you use a link.
All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.

🎙 Episode 54 – Under Pressure

Welcome to Episode 54 of Piano, Finally, the podcast of one old bloke making his way—note by note—through learning the piano.

It’s been a big week at school with the Creative and Performing Arts Showcase on Wednesday and a packed end-of-term schedule coming up, featuring the walkathon, carnival, and Battle of the Bands (yes, I’ll be in the dunk tank again). The week also brought a tech upgrade with a new Mackie Big Knob Studio+ audio interface—so if the show sounds a bit different, that’s why. A review of it is on the way.

🎧 Video Feature – Best Piano VSTs of 2025
This week’s recommended video comes from Stu Harrison at Merriam Music, who reviews five top-tier piano VSTs: Keyscape, CFX Garritan, Addictive Keys, Pianoteq 8, and Claire. If you’re building out a virtual piano rig or just want to know what’s new, this is a thorough and insightful look. I’ve even added one of them to my own setup—hint: Mi piacciono i pianoforti italiani.

📝 Essay – Under Pressure
The Showcase performances sparked a reflection on pressure in music. While student performers juggle nerves, grading systems, and the looming ATAR, adult learners like me have the luxury of learning purely for enjoyment. No exams, no deadlines, just curiosity and flexibility. That freedom—especially to take detours like learning synthesis and adding stage keyboards—has been a huge part of the fun. I’m still debating whether to join the September recital, but if I do, I’ll choose something that keeps it enjoyable rather than stressful.

🎹 Gear Review – The Nord Stage 4 Pianos
We start a new review series on the Nord Stage 4 by looking at its piano section. Unlike traditional keyboards, the NS4 includes both modelled and sampled pianos (the latter via the synth engine). With limited memory, you have to choose your sounds carefully—but Nord makes it easy to load and swap models. I explore the grand, upright, electric, clavinet, and digital categories, including gems like the Velvet Grand, Amber Upright, and even a DX7. The Nord Sound Library offers many more. If you’re interested in purchasing the Stage 4 locally, here’s a link to Turramurra Music.

A standout feature? Layering. Up to seven sounds can be blended—say, an acoustic and electric piano—to create rich textures like those used by Elton John. Add in dynamic compensation, touch adjustments, and even pitch bending, and you’ve got a remarkably flexible performance tool.

🎼 Progress
This week’s practice focused on tricky passages from two pieces: Der Vogelfänger bin ich ja (Mozart) and Wild Chase(Wynn-Anne Rossi). Recorded using the Kawai NV10 and Pianoteq 8 with the New York Steinway D in Classical mode.

Send me a text message.

You can contact me:

• via email at david@pianofinally.show; this is probably the best option
• the show website, www.pianofinally.show
• Instagram and Threads @pianofinally
• and on YouTube
• all the podcast directories - list
• here's the RSS feed

Some of the links to books and other items mentioned in the podcast are affiliate links for Amazon or other providers. If you use one of these links, a commission may be paid to me at no additional cost to you. Thank you if you use a link.
All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.

Episode 53 – A Community

G’day and welcome to Episode 53 of Piano, finally, the podcast of a bloke getting around to learning the piano… finally.

This week finds me writing from the foyer of the Joan Sutherland Performing Arts Centre in Penrith, not the Opera House this time. I was waiting for Shake & Stir’s touring production of 1984, and I have to say, it was an impressive adaptation—just five actors and some clever use of video screens. Highly recommended if it’s heading your way:
👉 Tour info
👉 The Joan

🎹 YouTube Recommendation: My Keys To Music
If Nord keyboards are your thing—or you want them to be—Marc Larochelle’s channel My Keys To Music is a goldmine. Whether he’s breaking down sound design, comparing Nord models, or just playing the Doctor Who theme from an overhead angle, it’s all very watchable and informative. He even explores AI tools for separating tracks into stems—something I plan to try during the holidays.

Courses, deeper dives, and downloadable patches are all on his website, and there’s bonus material via his Patreon. Just don’t sign up via the iOS app—Apple takes a cut. Use the web version instead.
🎥 My Keys To Music on YouTube

🎶 Essay: A Community
My performance of Someone Like You isn’t happening after all, but another chance looms—a recital at the end of Term 3. I’m undecided. Is performing worthwhile? Definitely. Music communicates, and someone needs to do the performing. Whether you’re a pro with the Sydney Symphony or a volunteer in a Christmas variety show, performance builds community between players and listeners. Maybe that’s reason enough.

🎛️ Gear Talk: Nord Stage 4 – Overview
I’ve finally got my hands on the Nord Stage 4 (88-key version), and this review will be spread over a few episodes. This keyboard is a beast—three instrument sections (organ, piano, synth), full effects, layering, aftertouch, triple sensors, 512-program capacity, and serious versatility. It’s 130cm long and nearly 20kg, so more “transportable” than portable, but you’d only need this one keyboard for most gigs.

🛒 Nord Stage 4 official page
🛍️ Turramurra Music – AU retailer
🛒 Sweetwater – US retailer

🎭 Coming Up: The Creative and Performing Arts Showcase is on Wednesday, and I’m looking forward to being impressed by our young artists.

🎵 Progress update: Still aiming for September recital readiness. Current contenders include:

• Fritz Spinder – Canon
• Daniel Gottlob Türk – Bagatelle
• Andrew Cragg – Afternoon Snooze, Blackout Blues

These were recorded using the Kawai NV10 and Pianoteq 8 with the New York Steinway D model.

Until next time—may your piano stay in tune and yo

Send me a text message.

You can contact me:

• via email at david@pianofinally.show; this is probably the best option
• the show website, www.pianofinally.show
• Instagram and Threads @pianofinally
• and on YouTube
• all the podcast directories - list
• here's the RSS feed

Some of the links to books and other items mentioned in the podcast are affiliate links for Amazon or other providers. If you use one of these links, a commission may be paid to me at no additional cost to you. Thank you if you use a link.
All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.

🎙 Episode 52 – A Dangerous Business

G’day, and welcome back to Piano, Finally—a podcast from an old bloke finally learning the piano. This week’s episode was written once again from the busy foyer of the Sydney Opera House—where Vivid’s light show and some eye-watering appetiser prices ($825!) set the scene before another performance by Sir Stephen Hough.

We begin with an update from the Cliburn piano competition, streaming live on YouTube. All six finalists are men—curious, but I’m just glad to have a favourite from the earlier Gina Bachauer comp in the running. (Note to competition organisers: please consider school holidays next time!)

🎹 This week’s featured channel is DSoundman—a.k.a. Douglas: songwriter, studio producer, and worship leader. His content dives deep into keyboard reviews, tutorials, and creative sound design. Whether you’re new to Nord and Roland boards or just curious about what modern stage pianos can do, his videos are a treasure trove. He also sells courses and preset packs for those looking to level up.

In the essay, A Dangerous Business, we reflect on just how far the piano journey can carry you. What started with a single Roland piano has spiralled into digital grand actions, YouTube rabbit holes, sound design adventures, and reflections on music education. We tip our hat to David Bennett Piano, Elton John, and Billy Joel—and we explore why learning classical first still makes sense, even if you’re aiming for Pink Floyd.

Classical training builds the foundation—but pop music’s chord progressions are opening new doors. The goal is to blend both worlds, and it turns out the scenic route—via detours and diversions—makes for a much better trip.

🎛 To that end, we review Syntorial by Audible Genius—a powerful course that teaches synthesis through ear training rather than theory. With 199 lessons, a built-in synth, and a free trial of the first 22 lessons, it’s a brilliant way to learn what all those knobs and sliders actually do. It’s already helping improve listening skills and synth programming—and it’s surprisingly fun.

🎶 In progress news: the debating season’s over, practice is back on track (even if Wednesday went mysteriously off the rails), and a few “once-a-session” pieces made it to the mic—Spindler’s Canon, Türk’s Bagatelle in F, and Cragg’s Afternoon Snooze and Blackout Blues. Recorded on the Kawai NV10 with Pianoteq’s New York Steinway Model D, they’re a nod to the Cliburn competition’s piano of choice.

As always, get in touch at david@pianofinally.show or via pianofinally.show.

Until next time,

Send me a text message.

You can contact me:

• via email at david@pianofinally.show; this is probably the best option
• the show website, www.pianofinally.show
• Instagram and Threads @pianofinally
• and on YouTube
• all the podcast directories - list
• here's the RSS feed

Some of the links to books and other items mentioned in the podcast are affiliate links for Amazon or other providers. If you use one of these links, a commission may be paid to me at no additional cost to you. Thank you if you use a link.
All reviews of products, websites and services are unpaid, and no sponsorship has been received for any content on this podcast.