Donny Osmond Custom Digital Conversion Project—Yamaha C7 Grand Piano
Brigham Larson Pianos
Every so often, a project comes through the shop that perfectly blends craftsmanship, innovation, and a little bit of show business. This Yamaha C7 project for Donny Osmond is exactly that.
For Donny’s upcoming five-year residency at Harrah’s Casino—where he serves as the face of the venue—he needed a piano that looked like a classic acoustic grand but functioned like a modern digital instrument. In a live theater environment, sound consistency, control, and reliability are critical. While nothing compares visually to a concert grand on stage, miking an acoustic piano is one of the most challenging tasks in audio engineering. A digital solution solves that problem—but only if it still feels like a real piano.
The foundation of this project is a Yamaha C7, a world-class concert grand. Our goal was to convert it into a digital piano while preserving the authentic playing experience and ensuring that the instrument could be returned to a fully acoustic state once the show concludes.
Inside the piano, the original action remains intact—hammers, keys, and touch are preserved so the instrument responds exactly like an acoustic grand. The digital electronics are installed discreetly within the body of the piano, with internal controls and a hidden power switch that allow the instrument to be turned on and off easily without opening the piano. When powered up, the piano drives internal speakers and digital sound engines; when powered down, the system is completely inert.
Special attention was given to the pedals. The acoustic sustain pedal is mechanically linked to the digital system so that Donny’s footwork translates naturally into the digital response, just as it would on a purpose-built digital piano.
Because the digital system differs dimensionally from the original acoustic components, several custom parts were fabricated in the shop. A new key slip and cheek block were built to accommodate the altered layout, along with a custom “dummy” fallboard. While it doesn’t need to fold down like a traditional fallboard, it completes the visual illusion—especially from the audience—so the piano reads unmistakably as an acoustic grand on stage.
The final touch? Color. The entire piano will be finished in a custom purple paint at a specialty shop experienced in theatrical sets and scenic work—a bold, unmistakable look worthy of a Las Vegas stage and Donny Osmond himself.
Perhaps the most exciting part of this project is its reversibility. After five years of performances, this piano can be transitioned back into a fully acoustic Yamaha C7 with relative ease. And yes—if you’re dreaming of owning a purple piano played by Donny Osmond for five years in Las Vegas, you might want to get your name on the list.
Projects like this are a perfect example of what’s possible when traditional piano craftsmanship meets modern performance demands—and we’re proud to have been part of it.
