The Pianist Bg Audio

[Channing Arther]

(Note: As discussed in a previous blog posting, in order for Smart Pianist to evaluate audio, songs must be purchased and must reside in your iTunes library. Songs from streaming services such as Spotify and songs that were downloaded into iTunes as part of Apple Music cannot be evaluated by Smart Pianist.)

The Clavinova stream lights correspond directly to the notes in the Score, with one stream light for each and every note in the Score. As we discovered above, the notes in the score are dependent upon the score accompaniment pattern that you choose. If you want fewer lights, choose an accompaniment score pattern that is less complicated.

Spoiler alert: they're selling 300 to 400 dollar in person lessons in either NY or FL and they don't want to give away too much in this interview. Interesting concept but not really accessible/actionable information for most of us... Thanks Brendon.

My pleasure LOL. The video is a bit cringe worthy. The third guy smiling like he knows the answer to life the universe and everything is a bit... much. But, I do think that associating a verbal cue with a desired movement makes sense. I don't have any doubt that playing in a state of mindlessness is the best way to play golf and if this works to get there then it's all good. I can see a problem with marketing the system though as it seems that once the magic words get out there won't be much left to sell?

The idea is not hard to try out. Last night I invented my own words for different swing motions that I am working on and it did seem to work pretty well. Of course anything new that I try will almost always work right away. After a while most things stop working. But on the other hand maybe I have the 'gift'! LOL

My pleasure LOL. The video is a bit cringe worthy. The third guy smiling like he knows the answer to life the universe and everything is a bit... much. But, I do think that associating a verbal cue with a desired movement makes sense. I don't have any doubt that playing in a state of mindlessness is the best way to play golf and if this works to get there then it's all good. I can see a problem with marketing the system though as it seems that once the magic words get out there won't be much left to sell?

Ron Sisson is big on tick tock. This is a bit different as the words can be associated with specific movements. The way I am doing this is to make each movement that I want or actually what Monte prescribed while saying a word as a practice drill. Then I say each word in the correct order while swinging with the hope that the desired movements appears as if by magic. LOL this does seem to be fairly effective so far. I don't know if it will hold up over time though.

All praise to Dr Chou if he can find specific sounds that can make every individual hone in on their best techniques even better. With the price point I'm sure his specific work will stay in the houses of the more elite or well-heeled in every field, though.

For those not looking to travel and drop a few hundred I'm betting some of the more openly discussed and scientifically documented audio cue options can be pretty useful. Could see potential benefit in different cues for each item when learning but would like to see that compared to more generic ones for all in terms of performance.

Main difference I see/hear is that he fills in more "notes" for some of the actions than other methods. Tick Tock or 1-2, etc., are the takeaway and return cues only, where as the "ya la bam" is more musical like it's a set of two half notes then a whole note or two quarter notes then a half note. Could be something that certain people take to well.

Huberman did touch on this in his Learn Skills Faster episode. Learning new motor patterns it does help to associate them to words or phrases. But you're right, it's a bit different then the rhythm OP is talking about. Maybe the same mechanisms?

I have attached a brief recording of my daughter playing our piano. I am trying to make the sound more crisp and less muffled. Can anyone give me any idea on how best to do this? I used the first three seconds of audio as criteria to remove any background noise. I just cannot determine what filter might clean up the muffled sound.

I am trying to make the sound more crisp and less muffled. Can anyone give me any idea on how best to do this? I used the first three seconds of audio as criteria to remove any background noise. I just cannot determine what filter might clean up the muffled sound.

If you put the wav or mp3 in a ZIP file it can be attached, (like I did above), provided it is less than 500Kb, (i.e. only about 3 seconds worth of CD quality audio).
As you have found posting files in a .wav or .mp3 formats directly is not allowed in this forum.

There should have been very little noise in the original recording and it should not be sounding muffled. With the equipment that you are using the sound should be clear and clean without doing anything, so we need to go back a bit to see what is wrong.

what operating system are you using?
The microphone is a condenser type - these usually require phantom power - where is the power for the microphone coming from?
Which version of Audacity are you using?

I am using windows XP Pro. The power from the mic is coming from an electrical outlet. I am using Audacity version 1.2.6. The piano is in my living room (hey, have you come to my home?? ) Yes, there is carpet and it is against a wall. Furnishings? Yes. The microphone was placed on the floor (on a small stand) on the side of the piano.

But much more deadly is the reverb and echo. You can pour additional echo chocolate sauce on top and hope nobody notices, but your rose and beige wallpaper, Agatha Christie collection, and paisley divan are always going to be part of your performance.

There is one more possibility. An old staging trick is to put the microphone upside down so the capsule is only a half-inch or so from the floor. That will dramatically reduce one source of echo (the floor) and double the loudness of the signal. The theatrical version of this is the foam blobs on the floor just beyond the footlights like the EV Mic Mouse.

There is one more possibility. An old staging trick is to put the microphone upside down so the capsule is only a half-inch or so from the floor. That will dramatically reduce one source of echo (the floor) and double the loudness of the signal.

Microphone positioning makes a huge difference to the final recording. As you say Koz, there are many learned books on the subject, but when commercial pressures and time constraints are not an issue, a lot can be gained by experimentation.

(English pronunciations of pianist from the Cambridge Advanced Learner's Dictionary & Thesaurus and from the Cambridge Academic Content Dictionary, both sources Cambridge University Press)

The Studio Grand features a classic Steinway Model D concert grand piano. The first choice of many pianists, Steinways are famous for their character and unrivaled sound. The included ExploreMaps offer presets in a variety of styles ranging from open and natural to processed and strange. The variety of sounds makes Studio Grand perfect for both production and stage duties.

I was able to hear three of the four pianists that worked with the LPO under Riazuelo. Antti Siirala and Dmitri Levkovich both delivered graceful, professional work, but it was Spencer Myer, who impressed me most when he performed this past Saturday at Loyola University's Roussel Hall. Myer showed the same golden tone and inward, spiritual qualities that earned him a gold medal in the 2008 New Orleans International Piano Competition. His Loyola appearance at the "Concerto Showcase" was part of the prize offered to medalists by the Musical Arts Society of New Orleans, which sponsors the competition.

Myer, Riazuelo and the LPO all sounded great in Rachmaninov's demanding "Rhapsody on a Theme by Paganini." With only a single rehearsal, they never missed a cue with entrances, exits or sudden dynamic shifts. But this performance wasn't just about realizing a score. It conjured Paganini -- the legendary, "demonic" violinist who once ruled Europe's concert stages -- and it reminded one that the composer, too, was a renowned keyboard virtuoso. Myer seemed to channel Rachmaninov, with flickering cross-hand patterns, sweeping arpeggios and octave runs that meshed with the orchestra's jazz-flavored string pizzicatos and pulsing brass. And Myer sounded just as good in the quiet moments, making it clear that the piano is a string instrument, one able to sustain legato lines that resemble a human voice.

That intimacy also allowed one to appreciate the superb playing of guest pianist Spencer Myer, who anchored the Brahms with poised, alert musicianship and generous tone. The strings matched him in intensity, though their sound was often somewhat wiry.

Myer played Beethoven's "Sonata No. 24" and a colorful selection of programmatic works by Franz Liszt and Isaac Albeniz. His 50-minute recital matched what veteran observers and the six-person jury had seen throughout the competition: an unruffled professional who consistently drew singing, lyrical sounds from his Steinway concert grand.

Perhaps it helped that Myer had competed in New Orleans before, earning a bronze medal in 2003. During this year's marathon, he presented recitals on Tuesday and Friday, part of a 5-day semifinal round that featured work by a dozen pianist from around the world. This year's field, culled from 105 competitors who submitted recordings, was an especially strong one, reflecting the growing status of the New Orleans contest. The semifinalists included two other medalists from past years.

This year's jury showered Myer -- a 29-year-old graduate of the Julliard School and the Oberlin Conservatory -- with $20,000 and host of performance opportunities. He will return to Roussel Hall -- the site of the competition -- for a solo recital in 2009.

Myer also will play two concerts with the Louisiana Philharmonic Orchestra, and will also appear with orchestras in Baton Rouge and Lafayette. The Musical Arts Society of New Orleans, which organizes the competition, will also arrange a Myer recital at London's famed Wigmore Hall -- the British equivalent of a Carnegie Hall debut. Myer also won the $1,000 prize for the best performance of a work by Claude Debussy...

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