Piano Pedals
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Overture Digital Piano
Important Safety Instructions 1. Do not use near water. 2. Clean only with dry cloth. 3. Do not block any ventilation openings. 4. Do not place near any heat sources such as radiators, heat registers, stoves, or any other apparatus (including amplifiers) that produce heat. 5. Do not remove the polarized or grounding-type plug. 6. Protect the power cord from being walked on or pinched. 7. Only use the included attachments/accessories. 8. Unplug this apparatus during lightning storms or when unused for a long period of time. 9. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as when the power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. FCC Statements FCC Statements 1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment. 2. Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. -
Electric Piano Adam Estes and Yukimi Morimoto
Electric Piano Adam Estes and Yukimi Morimoto May 16, 2018 6.101 Final Project Report Table of Contents I. Introduction II. Abstract III. Block Diagram IV. Synthesizer A. Touch Sensor B. MOSFET Switch C. Adder and Inverting Amplifier D. Voltage Controlled Oscillator E. Push-pull Amplifier V. Audio Effects A. Timbre Changer B. Octave Switch C. Soft Pedal D. Damper Pedal (Attempt) VI. Design Analysis VII. Conclusion VIII. References IX. Appendix 2 I. Introduction Musical instruments have amused people around the world throughout the history. One of the most common instruments that is enjoyed by people today is the piano. Playing the piano is very intuitive; players can make notes simply by pressing keys, and the notes ascend from left to right. In our project, we decided to build an electric piano with analog circuits. The user interface was inspired by a circuit that we built in 6.101 which lights up an LED for 30 seconds after the user touches two electrodes. We thought that the idea behind this circuit was a clever one, but we wanted to do something more interesting than just turning on a light. Turning on the circuit by touching electrodes resembles playing notes by pressing keys on the piano. The electric piano, therefore, enables players to play music in a similar way to a real piano. The features of the electric piano were inspired by those of a real piano. The electric piano can play three octaves in total, and has a soft pedal to decrease the volume. The waveshapes can be changed to several different shapes to better mimic the sounds of the piano, if not quite perfectly. -
Two Andover Girls Killed on Highway
7 *, -N Armcii Ikllf frtm Ron r«r «w WMk >ii«M 'ni itM ' . fNweeest •! IT. i t WmMtiit ' Otauf Mril «M»I toklKkC 13,705 to ML Slinajr, piMjMUrt; BlMObOT ' t t tiM AodNk n i^ to antor 7tA V , f'' BltfWIB •( CIlMlftttM Menehegttr^A City o / ViUagt Chirm VOL. LXXCTL NO. 284 (StXTEBN PAGES) MANCHESTER, CONN., TUESDAY, SEPTEMBER, 1, 1984 (OtoWfM AdVMiMar m P a f« M) PRICE SEVEN CEK fr Titan Up, Blac^Out ans CAPE KENNEDY,CENN Fla. (AP) — The Air Force launched a Titan SA mili tary space rocket on 'its maiden test flisrht . today, but lost track of it l3.min \ utes after lift-off. The 124-foot tall rocket biast' 8 ed away from Cape Kennedy'i^- Poverty Billi ;yV * Democrat 11 a.m. It* groal wa* to launch J It* third staae Into orbit a* a U i l l f l H C C S V f OOCI flying launch* platform. The y Backr Move platform, in turn, wa* to kick f loo*e a dummy -satellite into J O l l l l S O I l X O l v l separate orbit. In Caucus Within minutes, the second and third stages fired on sched WASHINGTON (API — Dem By GEORGE BAZAN ule. But, as' the rocket zipped ocratic congressional' .leaders 100 miles over a tracking sta- gave President Johnson an optl- HARTFORD" (AP) — A Uon in the West Indies Island ‘ mlsUc report today on prospects Republican leader said to of Antigua, radio contact was for enactment of his blllion-d<Jl-_ day that Republicans h»y« lost with the vehicle. -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
2018, September Newsletter
Chapter News Tucson Chapter (857) Piano Technicians Guild, Inc. Tucson, Arizona September 2018 Tucson Chapter Meeting Wednesday, September 12, 2018 Hachenberg & Sons Piano 4333 E. Broadway Blvd. Located on the north side of Broadway Blvd., west of the Broadway/Swan intersection. Refreshments & snacks will be provided. 5:30, refreshments; 6:30, meeting Meeting Topic: Tuning Pin Repinning Neal Flint, presenter Hey, what happened to "Gluing tuning pins??" Miscommunication happened. But we'll be talking about pinblocks, and loose tuning pins and addressing all of that; I'm sure "gluing" will undoubtedly come up. Come and share your thoughts. PTG Annual Convention and Institute Coming to Tucscon, Arizona!! July 10-13, 2019 Starr Pass Resort, Tucson, AZ To get an idea of what a convention is all about, check out last-year's convention website: http://my.ptg.org/2018convention/home Prerequisites before starting regulation Certain areas should be examined first such as: * On a grand the hammer shanks should not be bottomed out on the stop cushions. The shanks should be elevated slightly above the stop cushion material. (On an upright the hammers should rest completely on the rail, but check that the rail is not being held up off the action bracket artificially by a maladjusted soft pedal dowel or anything else.) * The grand keyframe should be Notes from the last chapter meeting bedded before doing letoff. May 2, 2018 * Check that the damper stop rail has not fallen low or been adjusted artificially low. If the rail is low it could ultimately stop Tech Topic: complete key/damper lever travel. -
Maintenance Methods for Digital Computers 1959 • VOL
1959 PICTORIAL REPORT ON THE COMPUTER FIELD DECEMBER Maintenance Methods for Digital Computers 1959 • VOL. • 8 - NO. 12 ~~"""""""""""""""""""""""""'"""""""""""""""""""""" - ~ ~ ~ ~ ~ ~ ~ ~ COMPUTER PROGRAMMERS ~ ~ ~ ~ ~ I Contribute to the f" ormulation ~ ~ ~ ~ of Ootally New Oechniques :J{pplicable I ~ to ..carge-Scale Systems at ~ ~ ~ ~ THE ~ ~ MITRE ~ ~ ~ ~ ~ ~ ~ ~ MIT~E, formed under the sponsorship of the Massachusetts Institute of Technology, ~ ~ has as a primary responsibility the design and development of computer-based air defense ~ ~ systems. An important part 01 this effort is the lonnulation 01 totally new programming ~ ~ techniques. ~ ~ Supported by such computer equipment as an IBM 704 and an experimental SAGE ~ i AN/FSQ-7 (soon to be augmented by an IBM 7090 and a solid state SAGE computer) ~ ~ MITRE engineers and scientists are involved in broad applied and creative programming ~ ~ areas. A significant part of this effort involves the development of computer programs to: ~ ~ ~ ~ • Provide simulation vehicles for testing missiles, ~ ~ interceptors, guidance systems .and tracking procedures ~ ~ • Carry out data reduction and analyses ~ ~ • Assist in the study of man-machine relations ~ ~ • Assist in the design and evaluatiou of new systems ~ ~ • Check out equipment and subsystems ~ ~ ~ ~ Additionally, MITRE has undertaken a number of challenging projects in the study of ~ ~ machine design and programming research; programming systems are being developed ~ ~ to provide more efficient techniques that will facilitate the writing, -
Transfer Learning for Piano Sustain-Pedal Detection
Transfer Learning for Piano Sustain-Pedal Detection Beici Liang, Gyorgy¨ Fazekas and Mark Sandler Centre for Digital Music, Queen Mary University of London London, United Kingdom Email: fbeici.liang,g.fazekas,[email protected] Abstract—Detecting piano pedalling techniques in polyphonic music remains a challenging task in music information retrieval. While other piano-related tasks, such as pitch estimation and onset detection, have seen improvement through applying deep learning methods, little work has been done to develop deep learning models to detect playing techniques. In this paper, we propose a transfer learning approach for the detection of sustain- pedal techniques, which are commonly used by pianists to enrich the sound. In the source task, a convolutional neural network (CNN) is trained for learning spectral and temporal contexts when the sustain pedal is pressed using a large dataset generated by a physical modelling virtual instrument. The CNN is designed Melspectrogram and experimented through exploiting the knowledge of piano acoustics and physics. This can achieve an accuracy score of MIDI & sensor 0 127 0.98 in the validation results. In the target task, the knowledge learned from the synthesised data can be transferred to detect the Fig. 1. Different representations of the same note played without (first note) or sustain pedal in acoustic piano recordings. A concatenated feature with (second note) the sustain pedal, including music score, melspectrogram vector using the activations of the trained convolutional layers is and messages from MIDI or sensor data. extracted from the recordings and classified into frame-wise pedal press or release. We demonstrate the effectiveness of our method in acoustic piano recordings of Chopin’s music. -
Hammond SK1/SK2 Owner's Manual
*#1 Model: / STAGE KEYBOARD Th ank you, and congratulations on your choice of the Hammond Stage Keyboard SK1/SK2. Th e SK1 and SK2 are the fi rst ever Stage Keyboards from Hammond to feature both traditional Hammond Organ Voices and the basic keyboard sounds every performer desires. Please take the time to read this manual completely to take full advantage of the many features of your SK1/SK2; and please retain it for future refer- ence. DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E ORGAN TYPE PLAY NUMBER NAME PATCH ENTER DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E Bourdon OpenDiap Gedeckt VoixClst Octave Flute Dolce Flute Mixture Hautbois ORGAN TYPE 16' 8' 8' II 4' 4' 2' III 8' PLAY NUMBER NAME PATCH ENTER Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. -
Frequently Asked Questions
www.M-Audio.com Frequently Asked Questions Do I need a computer to use the Hammer 88? The Hammer 88 will require either a computer with accompanying software* or a sound module (such as the M-Audio Accent Module) in order to generate any sound. The keyboard will send MIDI messages over USB and the 5-pin MIDI Out port which will trigger sound in the connected software or sound module. *The Hammer 88 includes the Ableton Live Lite software and several plugins to help you get started. Does the Hammer 88 require any drivers? No. The Hammer 88 is class-compliant and does not require any drivers for use with Mac and Windows operating systems. What are the computer requirements for the Hammer 88? The Hammer 88 is compatible with Windows 7 and up, and Mac OS X 10.10 and up. Do I need a power supply for the Hammer 88? No, a power supply is not necessary. The Hammer 88 is powered through the USB connection with your computer. inMusic Brands Europe – Unit 3, Nexus Park – Lysons Avenue – Ash Vale – Hampshire – GU12 5QE www.M-Audio.com An optional 9V DC, 800mA, center positive power supply can be used to power the keyboard when using without a computer. Does the Hammer 88 come with any software? Yes, the Hammer 88 comes with the following software. • Ableton Live Lite • SONiVOX Eighty-Eight Ensemble • AIR Mini Grand • AIR DB-33 • AIR Velvet • Skoove 3-month premium subscription • Hammer 88 software editor All software (with the exception of Skoove, and Ableton Live Lite) will be available from the user account page once the Hammer 88 has been registered. -
Installation Guide for Grand Pianos (Standard System)
PIANODISCHeading SYSTEMS Installation Guide for Grand Pianos (Standard System) Jan. 2019 Place you r m essag e h ere. Fo r m axim um i mpact , use two or t hre e se ntenc es. Installation Guide PianoDisc Installation Guide for Grand Pianos Jan. 2019 4111 North Freeway Blvd. Sacramento, CA 95834 Phone 916 -567 -9999 Fax 916 -567 -1941 WWW.PianoDisc.Com PianoDisc ® is protected by copyright law and international treaties. Reproduction or distribution of this guide may result in civil and criminal penalties plus prosecution to the maximum extent possible under the law. PianoDisc and Burgett, Inc. reserve the right to change product design and specifications at any time without prior notice. Introduction This installation manual will guide you through the process of fitting the PianoDisc High Definition SilentDrive reproducing piano system to virtually any grand piano. Along with the knowledge and experience gained from a PianoDisc Installation Seminar, this guide should be an invaluable resource. This document is considered confidential by PianoDisc, and is for the sole use of PianoDisc Certified Technicians. It may not be reproduced, distributed or quoted in whole or in part without the express written permission of PianoDisc. This guide is only to be used in the installation of the PianoDisc SilentDrive Reproducing System. PianoDisc systems may ONLY be installed by technicians who have been certified by PianoDisc to perform such installations. If you have come into possession of this manual and/or a Retrofit Kit and you are NOT a PianoDisc Certified Technician, DO NOT ATTEMPT TO PERFORM THE INSTALLATION. Installations not performed by a certified PianoDisc technician WILL NOT meet the requirements for warranty protection, and such an installation will likely void the piano manufacturer’s warranty for the instrument and the player system, and may also be a violation of FCC rules. -
MP7SE Owner's Manual
Introduction Main Operation EDIT Menu STORE Button & SETUPs Owner’s Manual Recorder USB Menu SYSTEM Menu Appendix Thank you for purchasing this Kawai MP7SE stage piano. This owner’s manual contains important information regarding the instrument’s usage and operation. Please read all chapters carefully, keeping this manual handy for future reference. About this Owner’s Manual Before attempting to play this instrument, please read the Introduction chapter from page 10 of this owner’s manual. This chapter provides a brief explanation of each section of the MP7SE’s control panel, an overview of its various jacks and connectors, and details how the components of the instrument’s sound are structured. The Main Operation chapter (page 20) provides an overview of the instrument’s most commonly used functions, beginning with turning zones on and off, adjusting their volume, and selecting sounds. Later on, this chapter introduces basic sound adjustment using the four control knobs, before examining how reverb, EFX, and amp simulation can all be applied to dramatically change the character of the selected sound. Next, the MP7SE’s authentic Tonewheel Organ mode is outlined, explaining how to adjust drawbar positions using zone faders and control knobs, and change the organ’s percussion characteristics. The chapter closes with an explanation of the instrument’s global EQ and transpose functions. The EDIT Menu chapter (page 38) lists all available INT mode and EXT mode parameters by category for convenient reference. The STORE Button & SETUP Menus chapter (page 64) outlines storing customised sounds, capturing the entire panel configuration as a SETUP, then recalling different SETUPs from the MP7SE’s internal memory. -
Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets
Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets Juhani VESIKKALA Written work, Composition MA Department of Classical Music Sibelius Academy / University of the Arts, Helsinki 2016 SIBELIUS-ACADEMY Abstract Kirjallinen työ Title Number of pages Multiphonics of the Grand Piano - Timbral Composition and Performance with Flageolets 86 + appendices Author(s) Term Juhani Topias VESIKKALA Spring 2016 Degree programme Study Line Sävellys ja musiikinteoria Department Klassisen musiikin osasto Abstract The aim of my study is to enable a broader knowledge and compositional use of the piano multiphonics in current music. This corpus of text will benefit pianists and composers alike, and it provides the answers to the questions "what is a piano multiphonic", "what does a multiphonic sound like," and "how to notate a multiphonic sound". New terminology will be defined and inaccuracies in existing terminology will be dealt with. The multiphonic "mode of playing" will be separated from "playing technique" and from flageolets. Moreover, multiphonics in the repertoire are compared from the aspects of composition and notation, and the portability of multiphonics to the sounds of other instruments or to other mobile playing modes of the manipulated grand piano are examined. Composers tend to use multiphonics in a different manner, making for differing notational choices. This study examines notational choices and proposes a notation suitable for most situations, and notates the most commonly produceable multiphonic chords. The existence of piano multiphonics will be verified mathematically, supported by acoustic recordings and camera measurements. In my work, the correspondence of FFT analysis and hearing will be touched on, and by virtue of audio excerpts I offer ways to improve as a listener of multiphonics.