MODELING AND DIGITIZING REPRODUCING PIANO ROLLS Zhengshan Shi Kumaran Arul Julius O. Smith CCRMA Department of Music CCRMA Stanford University Stanford University Stanford University [email protected] [email protected] [email protected] ABSTRACT provide graphical display of MIDI (Music Instrument Dig- ital Interface) files in what usually refers to a piano-roll Reproducing piano rolls are among the early music storage editor. Thus, it can be claimed that piano rolls are among mediums, preserving fine details of a piano or organ per- the most significant early commercial recordings and data formance on a continuous roll of paper with holes punched storage media. onto them. While early acoustic recordings suffer from Playing and recording original rolls has been difficult poor quality sound, reproducing piano rolls benefit from due to the fragile paper and cumbersome demands of main- the fidelity of a live piano for playback, and capture all taining original instruments. Some recent efforts have pur- features of a performance in what amounts to an early dig- sued an alternative approach to accessing rolls by design- ital data format. However, due to limited availability of ing dedicated roll scanners to create image files of the rolls. well maintained playback instruments and the condition This serves the purpose of archival preservation but does of fragile paper, rolls have remained elusive and generally not allow piano rolls to be heard as the musical documents inaccessible for study. This paper proposes methods for they were originally intended to be. modeling and digitizing reproducing piano rolls. Starting In this paper, we present a method for faithful automatic with an optical scan, we convert the raw image data into the playback of reproducing piano rolls from image scans. Our MIDI file format by applying histogram-based image pro- research aims to digitize the data captured through analysis cessing and building computational models of the musical of notes, timings, and dynamics. The latter involves decod- expressions encoded on the rolls. Our evaluations show ing proprietary expression mechanisms controlled through that MIDI emulations from our computational models are holes on the sides of the rolls. We evaluate our accuracy by accurate on note level and proximate the musical expres- comparing the digital file with acoustic recordings of rolls sions when compared with original playback recordings. played on original player instruments. 1. INTRODUCTION AND MOTIVATION 2. RELATED WORK The invention of acoustic recordings in the late nineteenth century is widely accepted as a watershed moment in the There has been limited work on digitizing piano rolls by in- history of music. However, piano rolls, which were in stitutional researchers and independent hobbyists. Wayne widespread use from approximately 1905 to 1940, are mis- Stahnke [14] is one of the first to scan piano rolls and takenly treated as a footnote. Researchers studying early convert them into a digital format. Stahnke transferred acoustic recordings have significant challenges with tran- image information derived from a self-built roll scanner scribing the nuances of a performance due to the poor into a proprietary data format preserving the details of the sound fidelity, high noise artifacts, and limited recording punched holes. Colmenares et al [2] converted Stahnke’s length. Piano rolls did not share these shortcomings and pre-processed data for piano rolls into MIDI information were praised for their faithfulness and accuracy, providing by using sparse matrices. A few researchers such as a virtual transcription of a performance by punching holes Trimpin [7], Trachtman [15], and Malosio et al [9] have on a paper scroll. Many important musicians who recorded worked on the emulation of piano rolls. Other individuals on piano rolls never made acoustic recordings and were such as Anthony Robinson [12] developed scanning ma- among the oldest generation to be recorded. These include chines and software that allows manual adjustment of the composers like Claude Debussy, Scott Joplin, and Carl punch holes for refinement and error correction in the pro- Reinecke, among others [13]. Modern digital audio work- cess of MIDI generation. These pioneering efforts remain stations were inspired by this old music storage format and however largely inaccessible, as key algorithms are not re- vealed or evaluated and are unavailable for consideration and review. They also typically require intensive manual c Zhengshan Shi, Kumaran Arul, Julius O. Smith. Li- labor in the transfer process and are usually limited to one censed under a Creative Commons Attribution 4.0 International License format of roll. (CC BY 4.0). Attribution: Zhengshan Shi, Kumaran Arul, Julius O. Smith. “Modeling and Digitizing Reproducing Piano Rolls”, 18th In- Our work aims to fill this gap by proposing tech- ternational Society for Music Information Retrieval Conference, Suzhou, niques to digitize and model reproducing piano rolls in- China, 2017. cluding novel methods of transcribing the musical expres- 197 198 Proceedings of the 18th ISMIR Conference, Suzhou, China, October 23-27, 2017 Figure 1. Excerpt from a Welte-Mignon piano roll image scan, consisting of the left marker, channels 1 to 98, and the right marker. sion markings on those piano rolls. We evaluate our system example). by comparing the resultant MIDI emulation to the actual In this paper, we focus on the Welte-Mignon Licensee acoustic playback of the reproducing piano roll on a player format (the third Welte format, a derivation of the T-98 piano. rolls). A typical Welte-Mignon Licensee roll is 11 1=4 inches in width and holes spaced 9 per inch across [5], con- sisting of 98 channels 1 of punched holes [11]. As shown 3. REPRODUCING PIANO ROLLS FORMATS in Figure 1, channels 9 through 88 represent notes span- A piano roll is a continuous roll of paper with perforations ning from C1 to G7, with note F#4 as the splitting note for that store musical note data. It captured in real time the bass and treble. Channels 1 through 6 control bass (left- notes and rhythms of a pianist playing a special recording hand) expression, and channels 93 through 98 indicate tre- instrument. Music recorded on rolls are often performed ble (right-hand) expression. The pedal information is in- by a player piano, a pneumatic machine that can decode cluded in channel 7 and 8 (soft pedal) as well as channel the music data on the perforations and operate the piano 91 and 92 (sustain pedal). The expression channels com- action. Reproducing piano rolls are standard piano rolls bine to determine the dynamics of the piano performance. with expression (dynamic and pedal) capabilities that can also be automatically executed by player piano. Expres- 4. ALGORITHM FOR DIGITIZING sions were captured in variable ways but were usually tran- REPRODUCING PIANO ROLLS scribed in shorthand and then coded onto the roll for bass and treble respectively. The complex process allowed for In this section, we describe our method for digitizing and detailed editing of notes, rhythms and expressions. modeling the reproducing rolls. We first obtain piano roll The competitive environment of the early roll business images through a scanner, then construct a template that created multiple different reproducing-piano systems, with matches the layout geometry of the piano roll. Based on variations in the size of rolls, configuration of holes, and the template and locations of the perforations, we recover pneumatic player designs. Although industry efforts at the note matrix that contain onset times for each note and standardization eventually created some overlap, a thor- musical expression. Finally we model musical expressions ough inventory of historical roll systems would number into dynamics and pedal information, that can be preserved over two dozen. Most reproducing rolls of value to schol- in MIDI files. ars are found in the catalogs of a handful of primary play- ers, including Welte-Mignon (the first reproducing roll 4.1 Scanning maker), Ampico, Duo-Art, and Hupfeld. Playing any re- producing roll requires a suitable player piano manufac- The first step in digitizing the reproducing-piano rolls is to tured specifically for that format of roll. In some cases, as generate the image file by scanning. The scanner used for formats evolved over time, multiple players are needed to this project was purposely built for rolls with a transport play back a manufacturer’s rolls (early Red, T-100 Welte 1 For the purpose of this paper, we refer to a “channel” as a column of rolls do not play on later Green, T-98 Welte players, for the punched holes. Proceedings of the 18th ISMIR Conference, Suzhou, China, October 23-27, 2017 199 mechanism that allows continuous image capture by a con- tact image sensor (CIS) module which produces a graphic image file in either CIS or bitmap graphic format. The scan produces a directory of bitmap image files, initially preserving the 8-bit grayscale information. Each scanned image is 7296 pixels wide, juxtaposing front and back of the roll onto one side, with a pixel resolution of 324 dots- per-inch (dpi). We convert the grayscale raw image data to binary and invert the digit, so that 0 indicates no hole (white), and 1 indicates a hole coverage (black) at each pixel. On average, the size of a punched hole is 17 by 28 pixels. 4.2 Channel Grid Construction Given a fixed piano-roll format, the edges of the zones stay sufficiently constant due to the general uniformity of the piano rolls. Thus, a quantitative template specifying piano-roll layout geometry such as the exact location for Figure 2. (Top left) Scanned image; (Top right) Zoomed- each channel and the spacing between different zones is in view; (Bottom left) Histogram for top left; (Bottom necessary. We refer to it as a Channel Grid.