This review is on the classic Bontempi X-451!
Is this keyboard a classic?
Possibly not. Little information is out there about this keyboard. Actually, the only mention regarding this keyboard I can find is really other people looking for information regarding this keyboard. The closest thing I got to finding out about this piece is from the Table Hooters website discussing the Bontempi Minstrel Beta.
The Minstrel Beta had many of the design features of the X-451 - pull-out handle, keyboard cover, detachable battery compartment*, and basically overall design. I am not sure if this is normal but where the detachable compartment is on the Minstrel Beta, the X-451 has a strange detachable proprietary power supply that has a brown un-polarized two pronged plug coming out of the gray box. I thought this was strange because the keyboard features a DC 12v input on the side that accepts a standard jack and no place for batteries anywhere, which leads me to believe the back power supply was an upgrade option at the time this thing was on the shelves. Since this thing has a couple more voices and features, as well as a couple more octaves, it leads me to believe this was a kind of Minstrel Deluxe.
So, with that being said, let me get on with the description of the features, starting from right to left so that I may finish with perhaps my favorite feature of this keyboard.
So this keyboard has 10 voices: organ, brass, oboe, violin, piano, harpsichord, guitar, banjo, space, and vibes.
According to Table Hooters, the Minstrel Beta featured some complex analog multi-chip electronics and so when comparing this keyboard to other inexpensive brands at the time, like Casio, it comes to a surprise that Bontempi (which is kind of like the Italian equivalent of cheap Casio keyboards) has a somewhat warmer sound than what you might expect. Piano through vibes are kind of standard fare and offer some nice sounds but I find the organ, brass, oboe, and violin to shine - especially in the lower registers where you can get some nice bass square waves. The brass has that "brill" sound upon playing a note that quickly subsides that does not appear again until you lift up on all the keys and play again. The Bontempi's brass has a tone slightly reminiscent of my Siel Orchestra - another Italian gem from the same era.
Each tone also has two parameters that can alter the sound - vibrato off and sustain. Personally I find the envelope on the sustain to be quite long and can sometimes cause the sounds to become overwhelming but you can switch this function on and off while playing so that it is possible to get some nice effects from it. The vibrato is pretty subtle and adds some nice variation to some of the voices.
Basically, while the sounds may seem dated, they have a nuance to them that differentiates them from a Casio or Yamaha of the time. I find them to be more dimensional than an early Casio.
The rhythm section features 8 rhythms - waltz, tango, march, swing, slow rock, disco rock, bossanova, and samba.
The rhythms have that nice analog sound and are slightly different than the early arranger keyboards and rhythm machines of the era. There is an "intro fill in" that offers an unimpressive fill, in my opinion, but can be used in the right circumstances.
There is also a "rhythm start" button and a "rhythm synchro." having a rhythm button depressed the start would immediately play where as the synchro button activates the rhythm as you play a note on any of the keys below the split. Hold down a key and the rhythm continues but if you strike a key quickly you can get a pretty nice drum hit with the note played allowing for some interesting arrangements.
The following section is where I believe this keyboard shines - the easy play buttons.
The first three buttons are "full keyboard," "free bass & chord," and "single finger chord."
"Full keyboard" allows for the playing of the voice on every key of the keyboard.
"Free bass & chord" seems to split the keyboard but it does not seem as though the notes played are bass notes but offer a different voice for accompaniment similar to that of the organ sound.
"Single finger chord" allows for the keys below the split to play chords much like the old chord organs Bontempi was known for and many of the early electronic pianos and organs used to help familiarize themselves with home audiences.
The next section features "arpeggio," "walking bass," "memory," and "single finger orchestra."
The "arpeggio" offers pleasant accompaniment. The mix can be altered by both an "arpeggio volume" slider and a "balance" slider, with the latter making giving either the arpeggio or rhythm greater prevalence. When the volume is lowered it still leaves the rhythm note playing.
"Memory" allows for you to press a key and keep the note playing until you press another note.
"Single finger orchestra" pretty much extends the "single finger chord" feature to the entire keyboard, seemingly playing the notes depressed on the left with each key on the right but allowing you to only play one key at a time.
I was not certain what the "walking bass" function did since the keyboard seemed to respond the same whether it was on or off. It is possible that it provides a subtle difference in how the rhythm is played or sounded but my ears could not tell the difference.
The "easy play" features provide for great versatility and ease of use. For instance, while the rhythm may be limited, one could use the synchro feature and depress or lift up on the keys at varying intervals to create a unique rhythm or sound, or switch from the various easy play modes to give variation to the notes played. Also, if you become familiar with the rhythms, you can let go of the keys and switch notes starting the sequence of notes all over again. This "feature" is kind of mentioned in the Minstrel Beta review and I suppose someone patient enough to deal with a limited arranger from the early 80s can take this keyboard the distance.
This keyboard features 1/4" aux out, expression pedal, and earphone outs on the right so it is possible to hook this up to external recording devices or amplifiers with ease. I had found that the speaker on this keyboard was sufficient and achieved a good volume when pushed to the max. No rattling or distortion like with the Seiko DS-202.
The build on this keyboard appears to be pretty sturdy. It definitely has a good weight and appears as though it can take a beating. While my keyboard lacks the keyboard cover, I suppose having that shield in place can prolong the life of the keys. The feel of the keys also is not that bad. I have found that some of the keyboards with longer keys have a different feel depending on how far out the plastic comes from underneath. For instance, in many Casio keyboards with full-sized keys, while the surface of the keys are full length, sometimes the keys hang out almost 1.5" from where they meet the keyboard shell giving it a less natural feel. Another nice feature is that the keyboard features note names on a sticker stretching the length of the instrument.
Overall, I would think that if one was searching a Bontempi keyboard this one would be the way to go. While they were known for cheap sounds, as keyboards moved away from analog and more towards PCM or sampled sounds, the unique sounds of the early synthesizers was lost and instruments started sounding exactly alike. Just think of the countless small Casio keyboards from the 80s and 90s - you only need to find a select few to give you a full assortment of sounds from those manufacturers. Bontempi was no different. Their later keyboards seem standardized but the early ones had character, with the X-451 possessing all the positive qualities of the various Minstrel, MB, HB, and X models.
I suppose this would be an interesting keyboard to circuit bend as well, seeing as though there are plenty of analog components and plenty of room for some well-placed modifications.
Here is a preview of the sounds of the X-451 in a song I was working on:
