NAMM 2016: Nord Piano 3 emulates the hammer movements of a real grand

Yep, it's red.
Yep, it's red.

NAMM 2016: In hindsight, Clavia's Nord NAMM teaser video told us quite a bit about the company's new keyboard. It featured a fine-sounding piano, and there was plenty of focus on the keyboard action. And, as it turns out, that's a pretty good way to sum up the Nord Piano 3.

This features the new Virtual Hammer Action Technology, which is designed to simulate the movement of the hammers in a grand piano and giving you improved key response. The result, with any luck, will be better dynamics and improved overall authenticity. There's also 'Ivory Touch' for an enhanced feel.

Other new features include an OLED display for a better overview of what you're doing on the instrument and expanded memory for the Nord Piano Library.

Check out a feature list below, or find out more on the Nord website. We're sill waiting for confirmation of the price and release date.

Main features


  • 88-note Triple Sensor keybed with improved grand weighted action
  • Nord Virtual Hammer Action Technology for greatly improved key response
  • Ivory touch for authentic feel
  • OLED-display for better overview
  • 1 GB memory for Nord Piano Library
  • 256 MB for Nord Sample Library
  • Layer and split-functionality
  • Nord Triple Pedal

Piano Section

  • 4 Dynamic Curves
  • Dynamic Pedal Noise with Nord Triple Pedal
  • Advanced String Resonance (Gen 2)
  • Soft Release
  • Sample Synth
  • Dedicated Sample Synth section with Attack, Decay/Release and dynamic controls


  • All effects in Stereo
  • Tube overdrive simulation
  • Vibe effect
  • Separate Reverb/Delay effects
  • Tremolo, Pan, Ring-Mod and Wah-wah can be controlled with Control Pedal
Ben Rogerson
Deputy Editor

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.