Casio’s entry-level Celviano AP-300 and AP-S200 digital pianos promise the sound and feel of a grand piano without the price tag or size to match
Beginners now have two more contenders for their cash
As we approach the fourth quarter of the year, keyboard manufacturers are jostling for position as we head towards the all-important holiday season, when parents of would-be players - and adult newbies, for that matter - start to ask themselves what the best digital pianos for beginners are at the moment.
In 2024, Casio hopes to be part of the conversation with two new Celviano models - the AP-300 and AP-S200 - both of which are described as ‘entry-level’.
Despite their lower price tags, both are designed to deliver the ‘immersive grand piano experience’ of the more expensive models in the Celviano range - though not to quite the same extent, obviously. So that means (hopefully) high-quality sounds, decent speaker systems and playable keyboards.
The AP-300 is the pricier of the two, and is said to adhere to “the same core principles” as Casio’s high-end Grandphonic Sound System (as used in the recent AP-750, for example). So, the sound is designed to disperse from the speakers and reflect off the materials within the cabinet. The AP-S200 is based on a similar concept but has an open design and slimmer profile.
The grand piano tones themselves, meanwhile, are generated by the Multi-Dimensional Morphing AiR Sound Source, and are said to change according to your playing style and as notes sustain.
Similarly, the Smart Scaled Hammer Action Keyboard adapts its touch sensitivity depending on how strongly the keys are played.
The AP-300 (£1,249) and AP-S200 (£999) are available now in black, brown and white colour options, and both come with the WU-BT10 Bluetooth adapter for wireless MIDI and audio streaming. Find out more on the Casio website.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.