The main advantage of a synthesizer of physical simulation, Pianoid, in particular, in comparison to a sampler, is the possibility to control timbres of the instrument while playing: similarly to acoustic instruments. A piano performer takes into account “prehistory” of a sound to get needed sounding. Midi files transformed by pianoid, of course, gives an idea of a character of its sounding, but to assess the Pianoid in full, you need to listen to a musical piece performed directly on it.
This recording has been made directly on the pianoID.
All the files I posted earlier were programmed in mono. Stereo proved to be more difficult because of the difference in impedance in the deck. Finally, however, we succeeded!
All melodies are not recorded on the pianoID, but are converted from midi files.
We continue working calmly on sound. Problems that we have encountered are in no way related to Pianoid. Gigabyte GA-EX38-DS5 motherboard refuses to work with JTAG through LPT port in ECP mode. PCI - LPT controllers does not working to. We expect USB – JTAG controller to be delivered to us on the 15th May. And if it starts operating…
Sorry to be late with the files that I have promised to post at the end of the week.
This delay relates to the algorithm, rather than to sounding. Hardware problems are the reason. We have to replace the main calculating computer. It will happen only on Thursday. Take a break till then.
We will post new sounding samples no later then Friday. Unfortunately, the latest EDK/ISE Xilinx version is parting the algorithm with errors. We have to return to the previous version.
Finally everything is ready. Or mostly ready. Pianoid begining to sound as a grand piano. Tiny clarification of the algorithm has resulted in dramatic change: unnatural components have disappeared. The sound has aquired power and sublimity.
Currently insertion for XILINX is being recalculated for the updated algorithm. I will post sounding samples within the next few days. Hope they will not be disappointing.
In general, physical simulation leads to quite different understanding of a grand piano. Sometimes a seemingly important process, after being thoroughly implemented in a code, does not do the job. Or, at least, not the awaited result. While coding of a mere trifle has tremendous effect incomparable to the volume of code.
All of the above is about power transfer from a string to a soundboard. Or more precisely about a trifle related to this process.
In any case, it will have a memory for a certain number of presets, ability to load and preserve presets, Ethernet and USB ports for connection, MIDI entrance, stereo exit, hi-end audio and exit for earphones. It will be able to reload itself for an algorithm of another instrument.
It may have a shape of a form-factor stage piano and minion with its own keyboard, or a separate rack. It can also serve as an OEM board for outside producers. Our hardware is sufficiently universal, and is capable of implementing other instruments algorithms.
But on the whole, the final version is still unclear.
Unlike piano with its strings, hammers, sounding board etc. that are visible, palpable, and on the whole, material, we are dealing with a poor rack with 300 grams of boards, processors, and plugs inside. Physical model that it represents is pure mathematical abstraction with dozen parameters influencing each other. Absolutely non-visualized. Look at Pianoid control interface. How to figure it out? The monitor has a father, by the way – Dima Elyashev. He is the one who is able to understand it. We experienced an unpleasant moment in our work after the first launch: sound seemed even beautiful in its way, with overtones, and other niceties, but was somehow not pianolike. It appeared that our abstract hammers were beating our abstract strings from the wrong side…
On the whole, tuning Pianoid is a complicated matter. But it looks like we are getting there.
The middle part of the keyboard sounds really splendidly. Problems in basses and upper notes still remain. By the way, we have made 3 strings per key in the lower register, as in Fazioli.
