🎹 Roland FP30X vs Kawai ES120 | Digital Piano Comparison, Review & Demo 🎹

Finally, Kawai’s much-anticipated follow-up to the massively popular and successful ES110 is here. It’s not at all hyperbole to say that the new ES120 has big shoes to fill, and we figured a true trial by fire is the best way to get acquainted with this new Kawai piano.

As such, we’re going to be facing the new ES120 off against the venerable Roland FP30X – the model many people feel is the strongest all-around option in this portable digital piano class.

We’ll be comparing all of the sound-related specs, actions, features, connectivity and aesthetics. The ES110 compared very well with the FP30, but with the release of the new FP30X, Roland clearly took a step forward. Let’s see if Kawai has taken an equal step forward to provide some legit competition to the 30X.

Roland FP30X vs Kawai ES120 – Background

Kawai ES120 Digital Piano
Kawai ES120 Digital Piano

The Kawai ES110 was widely regarded as one of the best value options out there for people who were seeking an affordable 88-key digital piano with a great action and piano tone. It was quite light on features beyond these core specs, but it was a highly portable instrument that punched above its weight when considering the price it was available for, and warranty claim rates were very low.

Due to the presence of discreet 1/4” line outputs, it was even a legit option for gigging, and many professionals seeking an affordable, lightweight instrument went that route.

But, since the ES110 first hit the market in early 2017, it was starting to feel due for an update. Compared to the FP30X which hit the market in 2021 as a replacement for the Roland FP30, it was obvious that the ES110 was not delivering as updated a musical experience.

And due to the 30X’s own combination of excellent tone, a beloved action, and a whole host of features, the 30X had a pretty strong claim to being the best all-around model in the class and has widely appealed to everyone from beginners to seasoned professionals.

This is where the ES120 portable digital piano comes in. With that context out of the way, let’s start the comparison by looking at both instruments’ sound-related specs.

Digital Piano Sound – Sound Engine & Speaker System

Kawai’s Harmonic Imaging Sound Technology

The ES120 brings back the Harmonic Imaging engine, however, the default grand piano sound is now the Shigeru Kawai SK-EX sample. The EX concert grand piano sample, which was the core sample on the ES110 returns as well, but the top spot definitely goes to the SKEX sample.

It also sounds to us like some alternate sounds have been updated as well, so it’s definitely not fair to say that Kawai has simply brought back the same sound engine that was used in the 110.

With the SKEX sample, there’s so much detailed being presented in a subtle, warm and well-rounded way. It’s a very full sound, and surely part of this has to do with the upgraded speakers from the 110.

They’ve also added a set of tone ports, and you can definitely hear lots of detail coming directly out of them. There’s also a new Low Volume Balance feature which adds an automatic speaker EQ at low volume levels to optimize the sound.

In terms of the headphone experience, Kawai adds their Spatial Headphone Sound feature which has been used to the great success of many of their other models here.

Virtual Technician

You can also get under the hood of the acoustic piano tone with Kawai’s Virtual Technician feature accessible via the PianoRemote app and edit up to 17 different sound-related parameters to get the sound tweaked and customized to your own liking.

Just keep in mind that this is not a built-in feature and is only available through the free app, though you can tweak reverb and ambience onboard without the app.

Polyphony

The ES120 has the same polyphony as the ES110, but that’s totally fine given the fact that the polyphony count comes in at 192 notes.

This is more than enough polyphony for all types of solo piano playing, and since that’s the role the ES120 is designed to fill we have no complaints here.

Other Sounds

The ES120 is equipped with 25 total onboard sounds, which is up from 19 in total on the ES110. 8 of these sounds are acoustic piano patches, but once you move past the core two samples the overall fidelity starts to drop off, such as on other grand piano or upright piano patches.

Other sound categories such as the e pianos, organs, synths and strings however sound improved over the 110. With past Kawai products in this price range, the non-core acoustic piano patches tended to be an afterthought, so the overall improvement here is very welcome. In fact, many of the non-acoustic piano tones are achieving a professional level of quality.

Speaker System

The onboard stereo speakers are a key area where Kawai has beefed up the ES120 from the ES110. While the 110 certainly had a good quality pair of speakers, they did feel a little bit underpowered with just 14 watts of total power output.

Kawai has improved this by close to 50% with a pair of 10-watt speakers for 20 watts of total power. Paired with the new tone ports, there’s no question that this is playing a huge factor in the improved sound we’re getting out of the ES120.

Roland’s SuperNATURAL Piano Sound

Roland FP30X - SuperNATURAL Piano Sound
Roland FP30X – SuperNATURAL Piano Sound

The FP-30X is equipped with Roland’s SuperNATURAL sound engine, and it’s being driven by the newer BMC sound chip, which was a significant upgrade over the FP30. The BMC offers a much higher level of processing power which allowed Roland to increase the complexity of the sample-based sound engine.

The piano-playing experience is much different than ES120, with a much more pronounced upper dynamic range on the 30X. The attack and even the sustain has much more of a treble bias when you’re up in those fortissimo ranges. The ES120 has more color and thickness when you push the dynamics.

In that regard from a timbre standpoint, the 30X is a little more dynamic than the ES120. Whether or not your ear likes one versus the other is very personal, but there’s no question that we’re dealing with a pair of very high-quality sound engines here.

Piano Designer

Like the ES120, the FP30X also offers the ability to edit a large number of sound-related parameters, but also like the 120, this feature is not built-in, but rather accessible via the Roland Piano Designer app for iOS and Android.

Again, this is a nice feature that allows users to really refine the sound to their liking or to suit a particular vibe for a specific project.

Polyphony

Courtesy of the powerful BMC chip, the FP30X is able to deliver 256 notes of polyphony. This is probably overkill given that the 30X is not designed to be an arranger keyboard, but it does reflect the sheer processing power of the BMC sound chip.

Other Sounds

The FP30X has an impressive selection of onboard tones with 56 in total – more than double what the 120 offers.

And again, courtesy of the BMC chip, the overall quality of the sounds is quite a bit higher than what the FP30 had offered. Overall, the non-acoustic piano tones are consistently a touch above what the 120 is offering, with some very high-quality electric piano sounds, synthesizers and strings.

Roland’s classic rotary speaker effect is present for organ tones, and there’s a very nice selection of pads too.

Easily pro quality across the board, the 30X is definitely the more impressive of these two pianos in this regard.

Speaker System

The FP30X is equipped with a dual onboard speaker system with 22 watts of amplifier power. Roland is known for their very impressive built-in speaker systems, and that’s certainly the case here.

The power output is pretty much in line with the ES120, so it’s fair to say we’re dealing with a comparable set of speaker systems here.

Piano Action

Roland’s PHA4 Standard Keyboard Action

In the previous incarnation of this matchup with the ES110 versus the FP30, the FP30 was a pretty clear winner in terms of the action with Roland’s PHA4 Standard Key Action. The ES110’s RHC action was solid and still better than what was available on the Yamaha P-125 or Korg B2, but the PHA-4 action happened the be the best in class, even if the actions used in the Casio PX series have posed a challenge,

Even if Kawai has narrowed the gap, the PHA4 hammer action is still the best action in the class for our money due to its impressive features which translate into a great playing experience.

One of these key features is the triple sensor key detection which translates to highly accurate MIDI output. This is great if you’re doing triggering, but also for advanced pianists looking for a wide degree of touch sensitivity.

Escapement is another nice feature that helps in replicating the feel of an acoustic grand piano, and can also assist with the repetition speed. This action also uses an ivory feel surface on the white keys and a matte finish on the black keys resulting a very nice combination of grip and glide.

The PHA4 can also be found on the entry-level Roland FP-10 and more expensive models like the FP-60X and RP701. When moving to the flagship FP-90X stage piano the action is upgraded to the PHA50.

Kawai’s Responsive Hammer Compact Keyboard Action with Improved Cushioning

The ES120 is equipped with Kawai’s Responsive Hammer Compact action (RHC), and while this might appear to be the same action used in the ES110, this is in fact an upgraded version of the action.

While the fundamental geometry is the same, Kawai has improved the cushioning of this new version of the RHC which greatly lowers the mechanical noise, and will also improve the long-term durability of the action.

Any acoustic piano player will know that the key bed of a piano has a shockingly big impact on how the action feels, so in addition to the improved cushioning, they’ve also stiffened the key bed.

The physical act of playing the action for us here at Merriam now feels just as enjoyable as playing the FP30X. There’s only a dual sensor here and no escapement, so it is not as sensitive as the PHA4 and the repetition speed is not quite as fast, but in general, this new version of the RHC is much closer to the PHA4 than before.

There is also a textured keytop here which we also happen to like a lot.

Action Wrap Up

So, ultimately we’ve got two actions that feel pretty much as good as one another. The PHA4 however still has some features that will give it an advantage to some end users.

Kawai adds at least a triple sensor and escapement simulation to all of their high-end actions (though the flagship NOVUS models feature cutting-edge optical sensor), it’s not like these are philosophical differences.

But, for many people, these added features won’t really make a difference. This really is a situation where it would be ideal to try both actions side-by-side.

Features/Connectivity

FP30X Connectivity
FP30X Connectivity

Standard Functions

Both of these instruments are equipped with a fairly similar set of features, especially when it comes to their standard features. They both have transpose, onboard metronomes, the ability to record to USB and playback, as well as features like split, layer and twin piano. Song recorders are less relevant now with the advancements of DAWs, but they can still act as handy practice aids.

They both have some built-in lesson material, though the ES120 has a larger selection of onboard lesson books. The ES120 also has rhythms onboard, whereas the 30X requires connection to the Roland Piano App (replaces the Piano Every Day App) for access to the drum rhythms and full compliment of features, including things like the entire General MIDI 2 sound bank.

The trade-off with having everything readily available on the 120 is the need to spend some time with the owner’s manual since the 120 does not have a graphic LCD display (neither does the 30X.) and instead requires control panel button and key combination commands for many functions.

USB Audio Interface

While you can generate MP3 or WAV files on the 120 and save the files to a USB key, the FP30X is equipped with a full-fledged USB audio interface meaning you recording audio files directly from the 30X onto a DAW without the need for additional gear.

The 30X is one of the few instruments in this class with this particular feature, so for certain people, this will be a huge selling feature of the 30X.

Connectivity

Aside from the USB audio interface feature on the 30X, these pianos match up very evenly in terms of their connectors.

Both pianos offer dual headphone outputs, USB MIDI ports, a jack for a single sustain pedal, and a spot for the optional 3-pedal unit. They both have a 1/4” line out (L/ MONO, R) so there’s no need to fiddle with adapters if you need more juice on a gig. Of course, both pianos also have a jack for the power supply.

They both offer great Bluetooth connectivity as well as both are equipped with both Bluetooth MIDI and Bluetooth Audio connectivity. Bluetooth Audio allows you to take advantage of each piano’s great onboard speakers by streaming audio directly from a smart device, while Bluetooth MIDI allows you to wirelessly access apps such as Apple’s Garageband or Kawai’s PiaBookPlayer apps.

Accessories

Both pianos ship with a very basic switch pedal, though we would recommend upgrading to the more substantial damper pedals with half-pedalling that each manufacturer offers. They both also come standard with a music rest for your sheet music.

Both are available with matching keyboard stands – the KSC-70 for the 30X and the HML2 for the 120. They’re both also available with triple pedal units – the KPD-70 for the 30X and the F351 triple pedal for the 120.

Closing Thoughts

Here are some final thoughts on this comparison. To us, the acoustic piano playing experience on the ES120 is a little bit better. Even if we prefer the action on the PHA4 overall, we’re getting more sonic subtlety on the 120 likely due to the tone ports, as well as the SKEX sample set.

The total number of sounds is much less than on the 120, but what you are given is going to be fine if your focus is mainly acoustic piano.

Over on the FP30X, you’ve got an instrument which is a little bit more suited to be used in a live performance setting. It will cut in a mix better than the ES120 due to its emphasis on higher partials, even if it does create what sounds at times to be a less organic piano-playing experience compared to the 120.

There’s also the larger sound selection to consider here, as well as the presence of the PHA4 which still reigns supreme in the class.

Ultimately, every individual needs to cut through all of the specs and decide which instrument is the best fit for them musically, though we think it’s fair to consider these two equals at the top of the category.

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