DOCSLIB.ORG

Musical Acoustics in Russia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Acoustics in Russia Dept. for Speech, Music and Hearing Quarterly Progress and Status Report Musical acoustics in Russia Galembo, A. journal: STL-QPSR volume: 35 number: 2-3 year: 1994 pages: 001-044 http://www.speech.kth.se/qpsr STL-QPSR 2-311 994 Musical acoustics in Russia Alexander Galembo Abstract The former isolation of Russia have made many scientific works and results unknown to researchers in the Western countries. This is unfortunate, as the history of musical acoustics in Russia shows many interesting ideas and pioneer results reached by highly talented and enthusiastic scientists. Best known is probably Lev Termen with his "theremin" - the first application of electronic technology to musical art. A. V. Rimski-Korsakov, one of the most distinguished Russian acousticians, started his scientific carrier with investigations of stringed instruments. This paper presents a bibliography of Russian-Soviet publications on musical acoustics (in original Russian with English translation), covering the period 1885- 1994. Introduction Science in the Soviet Union was always isolated from the other world for political and language reasons. Still it is not uncommon that scientists in other countries are not aware of the results of the Russians, not even in their own special field of research. Needless to say, important scientific information may be lost due to this gap, waiting for a rediscovery. Russian science in general, and musical acoustics in particular, was one-way- isolated indeed, because Russian researchers knew much about the Western scientific results, mainly due to good scientific libraries in Moscow and Leningrad (most high- level Russian scientists read English and German). The scientists in Russia working in musical acoustics were highly professional and productive, especially in the last decade before World War 11. Only occasionally, some odd publications can be found, like rejecting the classical musical instruments in favor of future electronic substitutes (Abaza-Grigoriev, 1925), or including a political basis in discussing musical sounds (Veprik, 1930). The real start of organised research on musical acoustics in Russia took place about 1930, when the Central Music-Acoustic Laboratory was created in Leningrad by the Musical Union of Russia. Two years later, the laboratory was transformed into the Scientific Research Institute of Musical (Instrument) Industry (SRIMI), which at that time seem to have been the largest research centre on musical instruments in the world. The first important studies at this laboratory were devoted to acoustical investigations of wood for soundboards, conducted by Prof. N. Andreev (head of the laboratory, future member of the Soviet Academy of Sciences) and I. Kuznetsov. After the war, the largest and most active laboratories worlung in musical acoustics in Russia were found at the Moscow Conservatory, at the piano factory Krasny Oktiabr (Red October) in Leningrad, and at the Scientific Research and Design Technological Institute of the Musical Industry in the Moscow area. Russian research on musical instruments is in general characterised by a bias towards the practical implications. The laboratories were usually supported by the musical instrument industry, with thc task ol' working out ~~ractical~~ucon~~l~c'rlclilIio~is how to perfect the products. A peculiarity is that the talented scientists usually left musical acoustics after having reached important results, heading for a career in a better supported branch of science, such as hydroacoustics (with the exception of some real enthusiasts). Due to the interdisciplinary topic and the specific Soviet state organisation for publishing research material, works related to musical acoustics can be found in the physical, musical, psychological and technical literature, in information from trade associations, as well as in proceedings of scientific conferences. Special works and persons Among the Russian scientists in musical acoustics some are especially worth to mention. Lev Termen (in English often written as Leon Theremin) did not publish many papers, but the name of this physicist and musician is included in the main encyclopedia in the world. This pioneer in musical acoustics passed away only recently at the age of 97 years, being active up to his last years. Termen was one of the very first who introduced technology in the performing arts. As early as 1920 he invented the world's first concert electronic musical instrument, "termenvox" (or "theremin" in the West), by which the player produced very lyric sounds - reminding of a clear voice or violins. The instrument, which is controlled by graceful movements of the palms close to two metallic antennas, is in several respects still unpassed in its very original idea and playing possibilities. Termen was called to demonstrate the instrument in Kremlin to Lenin, who encouraged him to present it as a product of Bolshevik ingenuity. Termen was also allowed to demonstrate the instrument abroad, and he gave many successful concerts in the big concert halls of the world, such as the Paris Opera and Metropolitan in New York. His instrument was so attractive that in 1929, RCA bought the rights to manufacture it. Among Termen's listeners and admirers were Arturo Toscanini, Sergei Rakhmaninov, Albert Einstein, and Leopold Stokovsky. Other musical inventions during his American period of life were a 4-octave monophonic keyboard instrument (1928), an electronic cello (1930), and an electronic drum machine based on an optic-mechanical principle (1931). He also experimented with microtonal scales, with a musical instrument controlled by the movement of dancers (Terpsitone), and even with a design of the theremin controlled by eye movement alone. Abducted in 1938 by Soviet agents, he was returned to Moscow and then to Siberia. He escaped the common death in prison only to the price of agreeing to conduct research for KGB. In this position he worked out special listening devices, and was even awarded the Stalin Prize after the war. In 1968 he became Professor of Acoustics at the Moscow State University. Rather old, but still active, he reported to the All- Union Acoustical Conference in 1981 about the multi-voiced model of the theremin. He managed to visit USA in the end of the '80ties due to the support by Dr. John Chowning at Stanford University and an enthusiastic initiative taken by the American STL-QPSR 2-311 994 filmmaker Steven M. Martin, who made a documentary "Electronic Odyssey of Leon Theremin". N. Garbusov is well known in Russian acoustics for his research on musical hearing, and his textbook "Musical Acoustics" has been used by many generations of students at the conservatories, up to the present days. His conception of "zonal hearing" was popular among Russian acousticians and psychologists for many years. A. Rimski-Korsakov (relative to the famous composer) was a highly productive researcher in stringed instruments both before and after the war, with his candidate and doctoral dissertations devoted to musical acoustics. He compiled the results of his acoustical measurements on pianos and violins in a book "Musical Instruments" (1952) which has become a classic, also covering the general concepts of the instruments, wood properties, design, sound and quality aspects. This book has been the main source of information about the acoustics of stringed instruments for all Russian engineers in the field for the last forty years. Rimski-Korsakov later left musical acoustics for other branches of acoustics in which he made many important I contributions. Since 1972, this versatile and talented person has been associated with the editorial staff of the pan-European acoustical journal "Acustica". A. Rivin began with piano acoustics in the early fifties and was the first who developed and calculated a model of the piano hammer with nonlinear compliance of the hammer head. His approach to this problem is commonly recognised today, being rediscovered in Japan and the US during the '80ties. Rivin worked close to the real piano. He made his theoretical and practical research at the piano factory, and he gave really useful practical recommendations for piano hammer technology. The practical difficulties he had to overcome were numerous; for example, even the trigger circuits for the oscillograph had to be designed and made by himself. After receiving his candidate degree, Rivin left musical acoustics and followed the example of Rimsky-Korsakov and joined the Acoustical Institute of the Academy of Science in Moscow as a researcher. This institute was so closed because of dealing with classified materials that musical acoustics was not allowed inside its doors. The author remembers that when he as a student asked Prof. A. Rimsky-Korsakov about consultation in musical acoustics, it was kindly given at the gate to the institute. Applied acoustical research on pianos in Russia were continued at the acoustical laboratory of the Red October piano factory in Leningrad. This work was later summarised in a book by the present author, intended for practicing piano engineers ("Piano tone quality", Moscow 1987). A. Volodin had talents in both research and music and showed a high level of scientific intuition in musical perception. He was highly enthusiastic over the development of electronic musical instruments and developed the first Russian models. After having gained a profound experience in musical synthesis, he investigated the perception of musical sounds. His candidate dissertation on this topic was so impressive that he was awarded a doctoral degree instead! He made some hypothesis in this work which has been verified today, including the functional role of the "pitchiness" property of the musical timbre. His technical skill resulted in a large amount of original ideas and patents in electronic musical instruments (which are not included in the following bibliography to STL-QPSR 2-31 1994 make it reasonably short). As an example, his idea of a touch-sensitive keyboard was patented as early as 1946. V. Morozov began research in the singing voice in 1954 at Leningrad University and Leningrad Conservatory, at which he later initiated the Laboratory of Singing Voice Research in 1960.
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Pedal in Liszt's Piano Music!
    ! Abstract! The purpose of this study is to discuss the problems that occur when some of Franz Liszt’s original pedal markings are realized on the modern piano. Both the construction and sound of the piano have developed since Liszt’s time. Some of Liszt’s curious long pedal indications produce an interesting sound effect on instruments built in his time. When these pedal markings are realized on modern pianos the sound is not as clear as on a Liszt-time piano and in some cases it is difficult to recognize all the tones in a passage that includes these pedal markings. The precondition of this study is the respectful following of the pedal indications as scored by the composer. Therefore, the study tries to find means of interpretation (excluding the more frequent change of the pedal), which would help to achieve a clearer sound with the !effects of the long pedal on a modern piano.! This study considers the factors that create the difference between the sound quality of Liszt-time and modern instruments. Single tones in different registers have been recorded on both pianos for that purpose. The sound signals from the two pianos have been presented in graphic form and an attempt has been made to pinpoint the dissimilarities. In addition, some examples of the long pedal desired by Liszt have been recorded and the sound signals of these examples have been analyzed. The study also deals with certain aspects of the impact of texture and register on the clarity of sound in the case of the long pedal.
    [Show full text]
  • Model-Based Digital Pianos: from Physics to Sound Synthesis Balazs Bank, Juliette Chabassier
    Model-based digital pianos: from physics to sound synthesis Balazs Bank, Juliette Chabassier To cite this version: Balazs Bank, Juliette Chabassier. Model-based digital pianos: from physics to sound synthesis. IEEE Signal Processing Magazine, Institute of Electrical and Electronics Engineers, 2018, 36 (1), pp.11. 10.1109/MSP.2018.2872349. hal-01894219 HAL Id: hal-01894219 https://hal.inria.fr/hal-01894219 Submitted on 12 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Model-based digital pianos: from physics to sound synthesis Bal´azsBank, Member, IEEE and Juliette Chabassier∗yz October 12, 2018 Abstract Piano is arguably one of the most important instruments in Western music due to its complexity and versatility. The size, weight, and price of grand pianos, and the relatively simple control surface (keyboard) have lead to the development of digital counterparts aiming to mimic the sound of the acoustic piano as closely as possible. While most commercial digital pianos are based on sample playback, it is also possible to reproduce the sound of the piano by modeling the physics of the instrument. The pro- cess of physical modeling starts with first understanding the physical principles, then creating accurate numerical models, and finally finding numerically optimized signal processing models that allow sound synthesis in real time by neglecting inaudible phe- nomena, and adding some perceptually important features by signal processing tricks.
    [Show full text]
  • Numerical Simulations of Piano Strings. I. a Physical Model for A
    Numerical simulations of piano strings. I. A physical model for a struck string using finite difference methods AntoineChaigne SignalDepartment, CNRS UIL4 820, TelecomParis, 46 rue Barrault, 75634Paris Cedex13, France Anders Askenfelt Departmentof SpeechCommunication and Music Acoustics;Royal Institute of Technology(KTH), P.O. Box 700 14, S-100 44 Stockholm, Sweden (Received 8 March 1993;accepted for publication26 October 1993) The first attempt to generatemusical sounds by solvingthe equationsof vibratingstrings by meansof finitedifference methods (FDM) wasmade by Hiller and Ruiz [J. Audio Eng. Soc.19, 462472 (1971)]. It is shownhere how this numericalapproach and the underlyingphysical modelcan be improvedin order to simulatethe motion of the piano stringwith a high degree of realism.Starting from the fundamentalequations of a damped,stiff stringinteracting with a nonlinear hammer, a numerical finite differencescheme is derived, from which the time histories of stringdisplacement and velocityfor eachpoint of the stringare computedin the timedomain. The interactingforce between hammer and string,as well as the forceacting on the bridge,are givenby the samescheme. The performanceof the model is illustratedby a few examplesof simulated string waveforms. A brief discussionof the aspectsof numerical stability and dispersionwith referenceto the properchoice of samplingparameters is alsoincluded. PACS numbers: 43.75.Mn LIST OF SYMBOLS N numberof stringsegments coefficientsin the discretewave equation p stiffnessnonlinear exponent all(t) hammer
    [Show full text]
  • Large Scale Sound Installation Design: Psychoacoustic Stimulation
    LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction .................................................................................................................
    [Show full text]
  • Acousticspiano Acoustic Furniture
    ACOUSTICSPiano acoustic furniture 350 351 PIANO ACOUSTIC Sound absorbing furniture Acoustics are essential in making our surroundings enjoyable by minimising noise, controlling reverberations and general improving the quality of the acoustic environment in office and commercial interiors. Without acoustic furniture and panels, the lack of barriers between workers can lead to high noise levels and poor speech privacy which results in disgruntled employees. The Piano Acoustics range of wall tiles, ceiling tiles and suspended panels provide open plan offices and breakout spaces with multiple levels of acoustic absorption which are not only colourful and modern additions to the office aesthetics, but are also designed with functionality in mind to reduce reverberated noise and minimise factors which drive employees to distraction. Tile shapes Square, triangular and rectangular Product details Made from 100% polyester fibre Fabrics Specialist acoustic fabrics Manufacturing see page 361 Using recycled material 352 Details & Features Wall Tiles Suspended Ceiling Tiles Manufactured using a minimum of 60% recycled material, acoustic Ceiling tiles with balanced acoustics provide the necessary wall tiles are designed to offer functionality as well as aesthetics, combination of sound absorption and attenuation to control providing a sound buffer that looks good and enhances the interior noise in interior environments, made from 100% polyester fibre Ceiling Grid Tiles Suspended Acoustic Panels Acoustic ceiling grid tiles are ideal for open plan offices,
    [Show full text]
  • User Manual Nord Piano
    User Manual Nord Piano OS Version 1.x Part No. 50312 Copyright Clavia DMI AB Print Edition 1.3 The lightning flash with the arrowhead symbol within CAUTION - ATTENTION an equilateral triangle is intended to alert the user to the RISK OF ELECTRIC SHOCK presence of uninsulated voltage within the products en- DO NOT OPEN closure that may be of sufficient magnitude to constitute RISQUE DE SHOCK ELECTRIQUE a risk of electric shock to persons. NE PAS OUVRIR Le symbole éclair avec le point de flèche à l´intérieur d´un triangle équilatéral est utilisé pour alerter l´utilisateur de la presence à l´intérieur du coffret de ”voltage dangereux” non isolé d´ampleur CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK suffisante pour constituer un risque d`éléctrocution. DO NOT REMOVE COVER (OR BACK). NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. The exclamation mark within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the ATTENTION:POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. literature accompanying the product. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L´USAGER. Le point d´exclamation à l´intérieur d´un triangle équilatéral est CONFIER L´ENTRETIEN AU PERSONNEL QUALIFE. employé pour alerter l´utilisateur de la présence d´instructions AVIS: POUR EVITER LES RISQUES D´INCIDENTE OU D´ELECTROCUTION, importantes pour le fonctionnement et l´entretien (service) dans le N´EXPOSEZ PAS CET ARTICLE A LA PLUIE OU L´HUMIDITET. livret d´instructions accompagnant l´appareil.
    [Show full text]
  • Physics of the Piano N Giordano -- Purdue University • Introduction to the Piano
    Physics of the Piano N Giordano -- Purdue University • Introduction to the piano . Overall structure: strings, soundboard, hammers, etc. Some history: when and why the piano was invented. • Some surprising aspects of piano acoustics (its not just simple physics!): . Inharmonicity of piano tones. How a piano tone changes with loudness. Variation of a piano tone with time. Bass notes and the “missing” fundamental. Importance of psychoacoustics. • Modeling of the piano. • What can we learn from the piano? Thanks to A Korty, J Winans, J Jourdan, S Dietz, J Roberts, L Reuff, J Millis, M. Jiang, K Lie, J Skodrack, C McKinney and NSF. Purdue Univ – Dept of Phys July 2012 A Typical Modern Grand Piano The First Piano (c. 1720) • Bartolomeo Cristofori -- Florence Why did Cristofori invent the piano? • Goal was to produce an instrument that could play “loud and soft” (origin of original name “pianoforte”). • Could vary dynamics (loudness) from note to note. Not possible with harpsichord or organ. • Accomplished by using a hammer to strike the strings. • Key was his invention of the piano “action”. • Seems to involve only “simple” physics, but … Comparing Cristofori’s piano A Modern Steinway • brass strings • steel strings • hammers covered with • hammers covered with felt parchment • 49 notes • 88 notes • lowest note: 65 Hz • lowest note: 27.5 Hz (A0) • highest note: 1047 Hz • highest note: 4186 Hz (C8) • Piano range evolved from 4 octaves (49 notes) to 7-1/3 octaves (88 notes) over period ~1720 -- 1860 • Low end set by human ability to perceive a tone • Upper end set by human ability to perceive tonal relationships • Importance of psychoacoustics.
    [Show full text]
  • Amica Automatic Musicalinstrument Collectors’ Association
    PLAYER PIANOS o NICKELODEONS o PIANO ROLLS REPRODUCING PIANOS THE www.amica.org Volume 45, Number 6 December 2008 VIOLIN PLAYERS AMICA AUTOMATIC MUSICAL INSTRUMENT o COLLECTORS’ ASSOCIATION BULLETIN o WELTE-MIGNON BAND ORGANS o o AMPICO ORCHESTRIONS o o DUO-ART DUO-ART o o ORCHESTRIONS AMPICO o o BAND ORGANS WELTE-MIGNON o o VIOLIN PLAYERS REPRODUCING PIANOS PLAYER PIANOS o NICKELODEONS o PIANO ROLLS ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org “Members-Only” Webpage - Current Username: “AMICA”, Password: “valve” Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt VOLUME 45, Number 6 December 2008 AMICA BULLETIN FEATURES Display and Classified Ads Pairing of Reproducing Piano & Organ, An Odyssey . .Keith Bigger . .341 Articles for Publication Letters to the Publisher More on the Choralcelo . .Keith Bigger . .343 Chapter News Preserving Our Published Heritage . .Terry Smythe . .344 UPCOMING PUBLICATION Leo Ornstein - New Music . .Joshua Kosma . .345 DEADLINES Original Mozart Music found in France . .Andrew Klusman . The ads and articles must be received 345 by the Publisher on the 1st of the Piano Plays A Roll at Music Festival . .Sandra Matuschka . .346 Odd number months: January July The Last Doughboy .
    [Show full text]
  • Exploiting Piano Acoustics in Automatic Transcription
    Exploiting Piano Acoustics in Automatic Transcription Tian Cheng PhD thesis School of Electronic Engineering and Computer Science Queen Mary University of London 2016 Abstract In this thesis we exploit piano acoustics to automatically transcribe piano recordings into a symbolic representation: the pitch and timing of each de- tected note. To do so we use approaches based on non-negative matrix factori- sation (NMF). To motivate the main contributions of this thesis, we provide two preparatory studies: a study of using a deterministic annealing EM algorithm in a matrix factorisation-based system, and a study of decay patterns of partials in real-word piano tones. Based on these studies, we propose two generative NMF-based models which explicitly model di↵erent piano acoustical features. The first is an attack/decay model, that takes into account the time-varying timbre and decaying energy of piano sounds. The system divides a piano note into percussive attack and harmonic decay stages, and separately models the two parts using two sets of templates and amplitude envelopes. The two parts are coupled by the note acti- vations. We simplify the decay envelope by an exponentially decaying function. The proposed method improves the performance of supervised piano transcrip- tion. The second model aims at using the spectral width of partials as an inde- pendent indicator of the duration of piano notes. Each partial is represented by a Gaussian function, with the spectral width indicated by the standard devia- tion. The spectral width is large in the attack part, but gradually decreases to a stable value and remains constant in the decay part.
    [Show full text]
  • EUROGRAND EG2080- EUROGRAND EG2080-RW/BK EUROGRAND the Sound, Touch and Elegance of an Acoustic Grand Piano —
    Technical Specifications Version 1.0 April 2006 RW/BK K1800FX EUROGRAND EG2080- EUROGRAND EG2080-RW/BK EUROGRAND The Sound, Touch and Elegance of an Acoustic Grand Piano — The Cutting-Edge Performance of a Digital Piano EG2080- EG2080- EG2080- EG2080- V The ultimate piano for homes, music schools, houses of worship, etc. No traditional tuning or maintenanceEG2080- needed V Elegant wood grain cabinet with either black or dark rosewood finish, sliding key cover and full modesty panel V 88-note weighted hammer-action keyboard accurately recreates the feel of an acoustic grand piano V High-grade 80-Watts speakers and cabinetry deliver a truly dynamic sound, rich with presence and power V New stereo sampling RSM (Real Sound Memory) tone generation for the ultimate in instrument realism V 14 high-quality voices (Grand Piano, Acoustic Piano, E-Piano, Strings, Harpsichord, Organ, etc.) with max. 64-note polyphony V Layer mode for playing 2 sounds together RW/BK RW/BK RW/BK RW/BK RW/BK V High-quality reverb, modulation and brilliance effects to add even more depth and richness V Real-time 2-track song recorder with one song capacity and metronome V 3 pedals (Damper, Sostenuto and Soft) for more dynamic playing V Comprehensive MIDI In/Out/Thru and stereo line in/out connectors V Dual headphone jacks for silent music rehearsal and student/tutor listening V High-quality components and exceptionally rugged construction ensure long life V Conceived and designed by BEHRINGER Germany 2 EUROGRAND EG2080-RW/BK SPECIFICATIONS KEYBOARD 88 weighted keys with hammer action (A-1 to C7) SOUND GENERATION RSM (Real Sound Memory) stereo sampling, 32 MB ROM POLYPHONY 64 notes max.
    [Show full text]
  • END CONDITIONS of PIANO STRINGS Kerem Ege , Antoine
    END CONDITIONS OF PIANO STRINGS Kerem Ege1, Antoine Chaigne2 1Laboratory for Solid Mechanics, Ecole Polytechnique, UMR7649, 91128 Palaiseau Cedex, [email protected] 2Unité de Mécanique, Ecole Nationale Supérieure de Techniques Avancées, Chemin de la Hunière, 91761 PALAISEAU Cedex, [email protected] Abstract The end conditions of piano strings can be approximated by the input admittance at the bridge. Proper measurements of this value are therefore required. A method of validation of admittance measurements on simple structures is proposed in this paper. High resolution signal analysis performed on string’s vibrations yields an estimate for the input admittance. This method is implemented on a simplified device composed of a piano string coupled to a thin steel beam. INTRODUCTION The research of a trade-off between loudness and sustain (duration) is a major issue for piano designers and manufacturers. The way the energy of vibration is transferred from the piano string to the soundboard depends on the end conditions of the strings at the bridge: these conditions can be approximated by the input admittance at the connecting point between the string and the resonator. Therefore, proper measurements of this value are needed. Given this, we propose here a method of validation of admittance measurements on simple structures. Parameters such as frequencies and damping factors of the string partials depend directly on the end conditions. The analysis of the vibratory signal of the string, based on high resolution estimation methods (ESPRIT algorithm), allows us to evaluate efficiently those parameters and leads to the calculation of the input admittance. This method is implemented on a simplified device composed of a piano string coupled to a thin steel beam.
    [Show full text]