Allow,

Ini aku iseng2 copy paste guideline lecture ku buat acoustics class 1 minggu lagi. Aku kira pasti ada orang yg tertarik baca2 ttg. konstruksi piano. Ini research ku yg ntar jadi bahan lecture di kelas. Ambil sana sini... Moga2 bisa lebih appreciate piano, ternyata rumit nya bukan maen >_<.

Di tengah ada tabel sebenernya, tapi kayaknya rusak, ngga bisa ke copy paste, tapi ada penjelasannya napa aku pasang tabel itu.

BTW, kalo inggris nya singkat2 n ngga jelas, harap maklum nya, ini BUKAN artikel yg aku buat, ini cuma guideline buat aku ceramah di kelas ntar .. setelah 8 jam research ama ngetik, aduh .. maen piano aja jadi neg setelah tau serumit ini barangnya. hahahahaha .. anyway .. cheers .. ! have fun with it ...

Hadi
www.hadisumoro.com










Piano Lecture on Musical Acoustics
Hadi Sumoro

History and Basic Construction

The physics of the piano sound can be described by reviewing the evolution of the modern piano and its principal components. As a “stroked” string instrument, it has similarities with string instruments. Started before the recorded history, string instruments are existed. Bible refers to an instrument called psaltery that was played by plucking strings stretched across a box as the resonator. As well in China thousands of years before the Christian era, a similar instruments are found.

Around 6th century, Pythagoras used a simple stringed instrument called monochord in his investigation of the mathematical relations of musical tones. It’s a single string stretched tightly across a wooden box with a movable bridge than can divide the string into various lengths and can vibrate differently at a different fundamental frequency.

Invented 1709 by Bartolomeo Cristofoti in Florence. More than 7 octaves (88 keys).

The main parts are the keyboard, the action, strings, soundboard and the frame. A typical concert grand piano has 243 strings, varying in length about 2m at the bass end and about 5cm at the treble end.
Read the part of the pianos on the print out!

The soundboard is usually made of spruce about 1cm thick (10mm) with its grain running the length of the piano. It’s the main source of the radiated sound just as is the top plate of a violin/cello.

3 pedals of piano:
1. Sustaining pedal (right pedal)
Raises all the dampers, letting the strings to continue vibrate after the key are released
2. Expression pedal (left pedal)
In the most grands it shifts the entire action sideways, causing the hammers to strike only 2 of 3 of their strings. In vertical/upright piano, it’s a soft pedal, which moves the hammers closer to the strings.
3. Sostenuto pedal (center/3rd pedal)
It sustains only those notes which are depressed prior to depressing the pedal and doesn’t sustain subsequent notes. On few pianos, it’s a bass sustaining pedal which lifts the bass dampers, and on a few upright pianos it’s a practice pedal, which lowers a piece of felt between the hammers and the strings, muffling the tone.

How Piano Works
Hammer mechanism = inner mechanism on piano (read the part of the piano). Frame, Soundboard, Strings, Action, Pedals, Case, Pinblock, bridge.

Strings

Strings of the piano convert kinetic energy of the moving hammers into vibrational energy and pass it on to the bridges and soundboard. They determine the sound quality of the piano a lot.

Piano has 3 strings for each note. The best piano sound results from tuning those strings 1 or 2 cents different from each other. If they are tuned to exactly same frequency, the transfer energy from the strings to the soundboard takes place rapidly and decay time of the sound is too short. If we tuned them too far apart, the beats are heard.

The hammer sets all 3 strings into a vibration with the same phase, and energy and rapidly transferred to the soundboard initially. The small difference in their frequency made the strings get out of phase soon and the rate of sound decay slows down, leading to a 2nd slope in the decay curve (aftersound).
The thickness of a piano varies, with bass strings thicker than treble. It’s about 1/30inch for the highest treble string to 1/3 inch for the lowest bass. The length of the strings also varies.

The longer strings are desirable because of the inharmonicity phenomenon. When stroked, every string vibrate on it’s natural pitch aka fundamental frequency and many overtones. Since the overtones match other notes on the piano (as in musical harmony), the strings vibrate sympathetically with one another whenever they are not covered by their dampers. This creates the characteristic rich tone of a piano.

An ideal string vibrates in a series of modes that are harmonics of a fundamental or what we called as a harmonic series. But in piano, the overtones do not quite coincide with harmonically related musical notes. The string’s thickness and length made its harmonics deviate from being multiples of the fundamental, and creates an unmusical sense. This is what we called as inharmonicity.

Inharmonicity depends on the string length, the longer the strings are, the more they approximate ideal theorical strings, and the more they’ll vibrate sympathetically with other, musically related notes.

Inharmonicity explains why the lowest strings of the piano are not made of plain steel, but rather of steel wrapped in copper. The wrapped construction adds the necessary mass to the string while minimizing the addition of stiffness (and the inharmonicity as well). They become more flexible than are solid strings of the same diameter. This reason applies to the lower strings on guitars and violins too).

The inharmonicity is desirable in piano. People as in musicians and nonmusicians prefer a synthesized piano with inharmonic partials in the tone. With the harmonic partials, the tone produced is lacking of warmth. Inharmonicity also helps to mask small tuning errors.

The chart shows the increased percentages of carbon and the greatly increased tensile strength of music wire from 1827 – 1913. Early piano was strung with iron or low-carbon steel wire, which was softer, more elastic and produced a different sound than a modern piano wire. The strength of the wire doesn’t determine the high quality sound of the piano. A high percentage of sulfur (over 0.03%) is usually considered as a metallurgical defect in the manufacture wire.

Wire Sources Diameter (mm) Min Load Cap. (Newtons) Tensile Strength (N/mm2) Carbon % Sulfur %
Graf fortepiano #1594 (Vienna, c. 1830) .772 / .777 560 1189 .3150 .015
Graf #1594 2nd test .911/.921 530/535 804/812 .095 .007
Graf #1594 3rd test .754/.769 440/445 967/978 .125 .010
Graf fortepiano #2627 (Vienna, c. 1838) .886/.885 530/540 882/898 .077 .008
Graf #2627 (brass wire) .995/.940 610 830 - -
Bösendorfer fortepiano #167 (Vienna, c.1840) .790/.802 580/590 1170/1190 .370 .045
B.G. Wire (Vienna, c. 1840) .730/.735 400 950 .0553 .0044
Broadwood square #15793 (London, 1850) .993/1.005 900/905 1148/1155 .45 .035
Chickering (Boston, c. 1850) 1.150/1.190 1815/1910 1690/1780 .72 .052
Bösendorfer #3881 (Vienna, 1851) .810/.814 1070 2066 .72 .010
J.B. Streicher grand #6493 (Vienna, 1863) .744/.749 890 2036 .46 .008
Bechstein grand #981 (Berlin, 1864) .945/.947 1610/1640 2291/2333 .81 .017
Steinway (NY) #89867 (1897) 1.130/1.148 2540/2560 2490/2510 .740 .032
Steinway (NY) #160445 (1913) .965/.969 1860/1925 2530/2620 .770 .034
Steinway (NY, 1959) .938/.943 1680/1700 2421/2450 .74 .010
Malcolm Rose Type B .693/.695 340/360 900/950 .12 .018
Malcolm Rose Type C .893/.900 720 1140 .45 .022
Malcolm Rose Type C (Control) .900 720 1132 .4380 .0240
Christopher Clark Cluny, France. Modern harpsichord wire .921/.929 1580 2351 .805 .011
Giese Wire Co. sample wire c. 1975 1.119/1.125 2410/2380 2437/2407 .915 .0135
Röslau wire - sample wire c. 1987 .900 1457 2290 c .85 ?

Hammer (Hammer – String Interaction)

Hammer defines the tone quality (the attack especially). In 1720, piano’s hammer has wooden heads which are covered by leather; modern piano hammers are covered with wool felt that is compressed / stretched over a wooden molding.

The largest bass hammers = 11 grams, Smallest = 3.5 grams. More output can be achieved at the extreme treble end of the scale if the hammers are lighter, but this will increase manufacturing problems. On the bass, heavier hammers are preferred to achieve a good bass tone and more fundamental energy, but it’s harder to play. Key velocities corresponding to higher musical dynamic levels can require a finger force corresponding to several kilograms, and the value of this force increases noticeably with an increase in hammer weight (Newton’s law F=ma). This controls the performance indirectly.

Heavier the hammer, the longer it will stay in contact with the string(s). Above G4, the contact time of the hammer against the strings becomes equal to the roundtrip travel time for the initial pulse on the strings (Benade 1976). Below G4, the hammer leaves the strings before the arrival of the 1st major reflection from the far end.
If the hammer is still in contact at the time of the 1st reflection of the pulse got back from the bridge, losses occur that decrease the output of the piano and may cause an undesirable quality of tone. It’s important to have an optimum hammer striking position along the strings to produce a nice tone above G4 (the critical range), and also to keep the hammer from being too heavy and strikes the strings of a note equally. If the treble hammers are too heavy the tone will not be as loud. This explains why there aren’t any dampers on the higher strings.

The hardness of a piano hammer directly affects the loudness, the brightness, and the overall tone quality of the instruments. The weights are more related to the performance side, the hardness doesn’t affect the pianist too much.

The hardness should have a gradient such that the string-contacting surface is softer than the inner material. If there is no gradient, the result can be poor tone or undesirable noise components. The softest hammer produces a pleasant tone that is maybe too soft/dark. The middle hammer produces a brighter and louder tone, and the hardest hammer produces a bright but somewhat harsh tone that contains excessive noise components.

The optimum hardness for a hammer varies; the extreme trebles must be harder than the middle/bass hammers. It’s the opposite for the weight of the hammers.

Hammers can be ‘voiced’ by a skilled piano technician to make them harder/softer to get a good tone production. In voicing, the felt can be softened by piercing it with needles at certain chosen locations and can be hardened by filling away the soft outer felt with sandpaper /applying a chemical hardening agent. Voicing has a little measurable effect on the lower partials of bass tones, in trebles; all of the partials are affected.

Hammer striking is based on d/L ratio, d – distance from the closest string support to the point where the hammer strikes; L – speaking length of the string. The best place to strike the string is between 1/7 and 1/9 of their speaking length. How d/L vary across the compass depends on a number of factors and decided by the piano designer.

In the mid-treble, the best striking ratio is between maximum 1st partial energy and the most graceful note. Reducing the striking distance in this region makes the sound thinned because less fundamental energy will be presented. Increasing the striking distance makes the tone fatter but may produce an unclear or muddy quality. In here, hammer weight is an important factor too.

In the lower part of the scale, hammer contact time is small in comparison with the roundtrip time for the initial pulse on the string going back from the bridge. Damping due to the hammers is small. Changing the striking points changes the tone quality primarily by rearranging the relative amplitude of the partials. If the hammer strikes the string at/near a nodal point where the string motion is small, then the amplitude of the corresponding partial will also be small.

Soundboard and Bridges

It has 2 functions, as structural and acoustical functions. Structural, it opposes the vertical force components of the strings, and acoustically it’s the main radiating source in a piano, transforming the mechanical energy of the strings and bridges into acoustical energy.

Laminated wood/plywood soundboards are used in low cost pianos. They have a lower acoustical efficiency and less bass response compared to the solid spruce soundboards.

The varnish on a piano soundboard doesn’t have a significant effect on the tone. It has an effect on the tuning stability of pianos. Without varnish on its soundboard, a piano can go out of tune quickly if the humidity changes. This is because the size and weight of any piece of wood depends on the relative humidity and the air temperature around it. Woods absorbs moisture until the amount in the wood is in equilibrium with the surrounding environment. The varnish slows down the rate at which moisture can enter and leave the soundboard, and lets the piano stay in tune longer.

There are 2 bridges in modern pianos, the main/treble bridge and a shorter bass bridge. The bridges couple the string to the soundboard. By changing the design, the loudness, the duration and the quality of the tone can be affected.

The Case

A modern grand case is a very substantially made. The rim of the best modern grand pianos are usually made from heavy hardwoods such as maple or beech and may have a total thickness between 80-90mm. The case may weigh 150-200kg. From the acoustical point of view, it provides a massive termination for the edges of the soundboard, so the vibrational energy stays as much as possible in the soundboard instead of dissipating uselessly to the case parts.

The Sound

Production of sound by a piano is complicated. Key – Hammer – Strings – Bridge – Soundboard.

Vibrational waves travel in many directions on the soundboard, making a very complicated pattern of sound radiation. The various partials in a piano sound build up rapidly, about 3ms and decay at widely different rates. The sound spectrum of the piano is constantly changing with time.

The most common calculation in designing a piano is the tension, not the frequency of the string. This has something to do with modes of a piano string.

In longitudinal modes of vibration, energy propagates lengthwise along the string (periodic compression of the string material). Transverse and longitudinal vibrations of a piano string occur simultaneously. However, the lowest frequency longitudinal mode of a piano string is always more than 10 times the frequency of the lowest frequency transverse mode. So the first longitudinal mode of a piano occurs at a frequency somewhere between 3 octaves plus a 5th and 4 octaves plus a 3rd above the ‘normal’ fundamental transverse frequency of a string.

A piano tuner tunes the transverse modes of the strings by changing the tension of the strings as he turns the tuning pins. The frequency of the longitudinal mode can’t be affected by turning the turning pins. The longitudinal frequency of a plain steel string in a piano can be changed only by altering it’s speaking length. In case of the wrapped strings, it can be changed by changing the speaking length and the weight of the wrapping wire. Basically, it can’t be changed after the piano has been built.

In pianos, the decay times of the lower notes are longer and shorter for the higher notes. This happens in a very complicated way. The ear perceives the entire tone dying away uniformly after a key is stroked, but the decay time of each partials don’t behave as linear as we think. In some cases they may even increase in intensity before starting to decay.

The mechanical action of the pedals and dampers makes noises that have become part of piano’s tone. If the felt on the dampers is brought into contact with the string, the tone is not cut off cleanly, but it sounds like being swallowed. The most natural decay is holding down the key, allowing the sound to decay naturally without any pedal pressed.

Originally posted by yphsk
3 pedals of piano:
1. Sustaining pedal (right pedal)
Raises all the dampers, letting the strings to continue vibrate after the key are released
2. Expression pedal (left pedal)
In the most grands it shifts the entire action sideways, causing the hammers to strike only 2 of 3 of their strings. In vertical/upright piano, it’s a soft pedal, which moves the hammers closer to the strings.
3. Sostenuto pedal (center/3rd pedal)
It sustains only those notes which are depressed prior to depressing the pedal and doesn’t sustain subsequent notes. On few pianos, it’s a bass sustaining pedal which lifts the bass dampers, and on a few upright pianos it’s a practice pedal, which lowers a piece of felt between the hammers and the strings, muffling the tone.


::v:: Fungsi pedal di grand piano sama di upright piano sama ngga sih ? ::v::

Laen2 fungsinya. Grand aja macem2, apalagi grand ama upright.

Hadi

Wah, seneng banget neh ada orang yang nguasain ngga cuma permainan piano tapi alat piano-nya juga...:)

Originally posted by Andante
::v:: Fungsi pedal di grand piano sama di upright piano sama ngga sih ? ::v::

Nggak sama. Ada beberapa perbedaan. Kalo pedal kanan sih dua2nya sama, buat sustain. Tapi untuk pedal tengah penggunaannya berbeda, kalo piano grand berfungsi untuk bikin sustain not2 register bass (bawah) sementara not2 trebel (mulai dr middle-C keatas) nggak kena pengaruh sustainnya. Biasanya pedal tengah ini dipake buat efek Pedal Point. Sementara untuk piano upright, pedal tengah berfungsi untuk menurunkan damper (peredam) suara di di antara hammer dan strings, supaya suara pianonya teredam. Biasanya ini dipake kalo misalnya lagi latihan Hanon, supaya kuping kagak budeg.
Penggunaan pedal kiri sama antara upright dan grand. Hanya saja, kalo di grand piano efeknya sangat jelas terasa, yaitu keyboard tuts jadi bergerak ke kanan, sehingga posisi damper berubah hanya memukul dua senar. Suara yg dihasilkan pun lebih halus. Pedal ini namanya Pedal Una Corda (sebenernya Una Corda berarti 'satu dawai', tapi berhubung mekanisme piano tdk memungkinkan utk memukul satu dawai, jadinya yg dipukul adalah dua dawai).
Kalo di piano upright, ketika pedal kiri diinjek maka posisi hammer akan mendekat ke strings. Agak2 kurang jelas maksudnya apa karena menurut gue suara yg dihasilkan sama (makanya kalo pedal kiri lebih kerasa di grand piano). Maksudnya sih supaya suara yg dihasilkan bisa lebih halus, tapi karena konstruksi piano upright tdk memungkinkan utk menggeser keseluruhan posisi hammer kesamping, jadi posisinya diganti jadi mendekat ke strings. Kalo di piano upright, ketika pedal kiri diinjek lo ngerasain tutsnya jadi rada enteng nggak sih? hehe

Makasih buat translate-in ke bhs Indo ... anyway,

Pedal kiri yg deketin hammer ke string nya, itu ngurangin dynamic range nya ... kalo hammer nya deket ama string, jelas ngga bisa mukul kenceng2 kan ? Sedang semakin jauh ama string, dynamic range nya makin besar.

Hammer deket ke string jelas massa hammer ngga berubah donk, jadi tuts ngga tambah enteng.

Buat yg ngga tau, dynamic range = perbedaan softest and the loudest amplitude in sound.

Hadi
www.hadisumoro.com

Originally posted by yphsk

Hammer deket ke string jelas massa hammer ngga berubah donk, jadi tuts ngga tambah enteng.



Masa sih? Berarti perasaan gue doank yak..

Eh udah mengunjungi showroom piano Steinway di Dharmawangsa Square?? Waw, pianonya keren2 abis. . Harganya juga nggak kalah keren. Yg paling murah (gue lupa tipenya, tapi ukurannya kira2 setara sm Yamaha Grand C3) yaitu almost Rp 800 juta. Yg paling mahal yg dipampang di tengah ruangan (concert grand piano yg nine feet) yakni Rp 2 Milyar. :devilf: :maaf: ::cry::

Tapi suaranya bow! Sangat menusuk di hati.. Jadi ingin memiliki skaleee.... hohoho :marah: :mad2: :hehe

2 milyard?? :eek:
dapet rumah dong!!

(concert grand piano yg nine feet) yakni Rp 2 Milyar

Yea .. aku coba Stenway 9' ama Yamaha 9' waktu itu... terharu deh ......... Malah waktu itu cuma maen2 di stenway, tapi gara2 bagus bngt, sampe 1 jam maen2 ^_^ phew ...

Hadi

Lagi fine polishing Scriabin Op. 8 No.12 utk resital ntar ,
U3 gw rasanya dah mau hancur berantakan ... :(
Pas di bagian akir lagu tsb, suaranya kayak kaleng karatan yg mau pecah ...:( :( :(

Emang piano upright itu bukan piano .... hanya piano boongan .... :(

kenapa milih Scriabin yang itu, Forte?

Knapa? ada ide? mumpung masih bisa ganti neh

Iya sih itu lagu sama skali gak kedengeran susah ... padahal .... hihhhh bisa bikin gokil tuh hahaha!
Apa ... kedengeran susah gak sih ? hehe mumpung loe ngerti, ini chance gw utk cari feedback neh :)

gue rasanya cukup familiar sama nomer yang loe tulis itu. tapi gue ga tau nih, karena lagi ga di rumah, gue ga terlalu yakin juga secara kan ga bisa cek CD case sekarang. ;D tapi rasanya gue tau itu yang mana.

engga, engga perlu ganti. gue malah suka banget. dan gue kaget aj kok pas ya loe milih yang itu. makanya tadi gue nanya ada certain reason ga milih itu? :)

anyway, kedengeran susah2 gampang sih kalo gue dengernya. sometimes kedengeran "oh gitu.. kaya gampang".. sometimes kedengeran "rumit yah.. ga boleh ada yang missed."



ngomong2 soal suara piano.. suara piano di rumah udah ga enak banget.... pengen ganti. :(
tapi gue jadi teringat sama kata2 Pak Yazeed beberapa taun lalu, ketika kamu mendenger seseorang membunyikan satu tuts piano, kamu bisa tau seberapa jauh kemampuannya memainkan piano itu.
;D

kira2... ya orang jago kedengeran kok cuma dari satu dentingan sederhana. :haha even itu di piano rusak.

ngomong2 soal suara piano.. suara piano di rumah udah ga enak banget.... pengen ganti.
tapi gue jadi teringat sama kata2 Pak Yazeed beberapa taun lalu, ketika kamu mendenger seseorang membunyikan satu tuts piano, kamu bisa tau seberapa jauh kemampuannya memainkan piano itu.


Gimana caranya? :haha

Klo gw sih tau engganya dari waktu dia main.... :hehe

Klo broken piano gimana yah???

Amras jago banget hanya dengan 1 single note bisa tau.
Gw kalo liat cara nekennya mungkin bisa tau. Tapi kalo blind test yah gak tau kali ...

Tapi org yg sama, menekan 1 note di steinway jelas bunyinya beda ama menekan 1 note di U3. Apalagi notenya banyak .
Lagian harganya jg udah jauh banget gak karu2an ... hehe

Ngomong2 soal piano , kemarin di kompas hal muka ada artikel ttg piano kebanjiran.
Ada gambar stemer gw tuh , trus di artikelnya juga disebut:
"Toto Sumantri"
My great piano tuner .... Gw salut betul2 ama org2 yg seperti itu , menyetem dengan hati .....

My great piano tuner .... Gw salut betul2 ama org2 yg seperti itu , menyetem dengan hati .....

Haaah? Menyetem dengan hati?
Menyetem dimana2 pake tangan dong.... :haha :haha :haha

wah... klo kita sudah berhubungan dengan instrumen, alat musik, itu bukan lagi cuma sekedar alat.. bukan sekedar rangkaian dari berbagai macam komponen yg akhirnya membentuk benda yg kita sebut piano... bukan sekedar muter2 kunci stem trus cocokin sama alat ukur-nya... klo u mikirnya se-simple itu, semua orang bisa jadi tukang stem yg jago... tapi hati yg membedakan antara tukang stem yg jago sama tukang stem yg se-adanya... sama halnya dngn maen piano.. maen piano juga pake tangan... tapi yg membuat bunyi itu menjadi indah adalah sentuhan yg keluar dari hati...

nice explanation Wishes :)

Haha .... faisal ... faisal :nono
Dengerin tuh perkataan maestro2 om wishes dan tante Nwcp tuh ....
:haha

Hmmm tuner tuh kadang di sepelekan padahal peranannya sangat menentukan.
Dan berdasarkan pengalaman gw sih, susahnya setengah mati dapet tuner yg bener.
Kebanyakan pada ngawur wur. asal liat alat kira2 udah pas udah.
Abis nyetem nyuruh kita nyoba, pas kita complaint dia bilang "ini udah bener kok"
Rasanya pingin gw timpuk pake alat setem aja .... kalo dah bener yah ngapain nyuruh nyoba .... lagian hasil steman masih belepotan gitu kok dibilang udah bener tuh ngeselin banget ... itu namanya TUTI (tukang tipu)...

Nah tuner yg gw bilang di atas tuh beneran seorang tuner. Tapi mungkin pesenin dulu sebelumnya suruh stem pake hati ...hahaha

[sigh] Piano gw dah ancur banget setelannya ... Noise nya juga semakin banyak lsejak gw beli bulan september taon lalu. Bunyinya kayak ada skrup2 yang kendor. Malah kayak "ringing/ buzzing dsb"
Dah gitu appassionata gw di pianostreet masih dibilang " FF nya TOO soft" lagi.
Lama2 ancur beneran neh piano gw di hajar ama FORTE terus hihihi ....
Tapi kalo gw bilang ke isteri gw ini udah gak enak neh harus ganti .... dia bilang gw ngada2 haha .....

eh Forte, u klo latihan gumbrang-gumbrang gitu istri u ngomel gak??? huahauaa... gak bisa latihan ampe malem dunk yah... hhmmm.... bagi2 dunk suka dukanya sebagai seorang pianis yg udah beristri... hehehe....

emang piano u umurnya udah berapa?? U3 kan??? U3 apa?? kayanya biar gimana, enakan beli piano baru yah... yah, emang sih, butuh waktu buat nungguin karakter suaranya keluar... tapi lebih terjamin.... hehehe.... daripada baru beli stengah taon (second) tapi udah pada loyo....

gini Faisal.... cobain degh piano u... pencet satu tuts aja... u dengerin degh tuh bener2.. resonansi-nya harus bener2 lurus... klo kita imajinasiin, bener2 naik lurus keatas sampe akhirnya hilang.... nah klo ga lurus, berarti mesti di stem... nyetem piano tuh ga seenteng nyetem gitar... udah muter-nya berat, kadang mesti muternya dikit bgt... klo gak pake hati, gak bakal mampu degh muter ratusan pin stem....

Klo mau belajar piano dari DASAR BANGET umur 25 ketuaan ga sih?

[QUOTE=wishes;2823988]gini Faisal.... cobain degh piano u... pencet satu tuts aja... u dengerin degh tuh bener2.. resonansi-nya harus bener2 lurus... klo kita imajinasiin, bener2 naik lurus keatas sampe akhirnya hilang.... nah klo ga lurus, berarti mesti di stem... QUOTE]

Great ! wishes emang gak sembarangan ::up::
Ya setelah itu coba harmoni nya juga , seperti ilustrasi wishes

Wow, loe sering mutusin senar juga yah :devil: ..... [clap]
Hmm kalo denger kondisi piano loe mah emang dah gak ketulungan tuh haha
Pengalaman gw ? yah biasa aja lah udah beristri.
Tapi dia sukanya kalo gw main lagu richard, lagu2 pop kayak titanic dsb, brubah jadi rada2 romantis sih ;)
Tapi kalo bicara beli piano apalagi grand langsung cemberut haha
Wong gw crita kalo dapet undian harapan 2M mau dibeliin steinway aja dia buingung kok.
Bagi gw, gak mudeng kalo mobil sampai 2M. Tapi piano 2M itu kayaknya emang nilai minimal sebuah piano deh .. hihihi
Makanya saran gw utk para piano lover, mumpung blum merit cepet2 beli grand.
Oh ya kalo latian piano ampe malem yah bisa2 aja. Tapi gw nya yg tau diri ..
Kalo ada do'i gw gak main yg gumbreng2 lah ... Bisa dikirain gw lagi ngambek ...
Pernah sih gw lagi rada ngambek (karna kurang jatah) main liszt "Mazzeppa" full FORTE dari awal ampe abis hihihi.



Hai alysya ..... gak telat kok segitu :). Emang awal2 nya rada susah. namun setelah lewat masa itu no problem lah ...

Eh, gw lum jawab pertanyaan wishes ...

U3 gw beli 2nd, tapi kayaknya dah 20 taon lewat.
Gw lebih suka yg brand new sih .... gw sebenernya prefer yg suaranya soft tapi bertenaga.

tapi jangan salah lho, nggak semua piano 2M itu pasti bagus. tergantung bagaimana perawatan dan regulasinya. banyak yang voicingnya dan berat keyboardnya gak bagus. ini menurut pengalaman gw yg sudah konser di empat benua.

pengalaman dengan steinway: gw hampir selalu pake steinway di concert gw. termasuk juga pada saat gw masih student- sekolah gw di amerika adalah pemilik koleksi steinway grand terbanyak di dunia ( selain steinway factories ).

naturally, nggak semua steinway itu top quality. seperti yg gw bilang diatas. perawatan, tuning, regulasi dan voicing itu relevant banget untuk penjagaan kualitas piano.
tds

Amras jago banget hanya dengan 1 single note bisa tau.
Gw kalo liat cara nekennya mungkin bisa tau. Tapi kalo blind test yah gak tau kali ...

eh itu mah si Pak Yazeed yang bisa. gue juga ga ngerti dong. :haha cuma mungkin maksudnya emang kudu diliat juga yah bukan didenger doang.

btw... emang kalo composer gitu tiap pagi kerjaannya denger suara garpu tala? ;D

eh itu mah si Pak Yazeed yang bisa. gue juga ga ngerti dong. :haha cuma mungkin maksudnya emang kudu diliat juga yah bukan didenger doang.

btw... emang kalo composer gitu tiap pagi kerjaannya denger suara garpu tala? ;D


hehe ... iya kali yah

Btw , garpu tala ? [???]

Wah gw keliwat postingan tds.

Gak semua yang 2M bagus ya ?
Iya juga yah.
Nah Kalo yg 20 juta bagus ada gak? or pernah punya pengalaman?

Btw gw jg kadang suka voicing sendiri dikit2 aja sih.
Tapi masalah noise resonanse itu bener2 bikin kesel.
Ada yg tahu cara mengatasinya? apa bludru2 di senar bagian bawah itu berpengaruh? (bludru di piano gw itu emang dah kayak menipis banget)
Gw tanya tuner gw juga kok dia kurang memberi jawaban yg memuaskan tuh, meskipun dia tahu ada yg gak beres :(

gini Faisal.... cobain degh piano u... pencet satu tuts aja... u dengerin degh tuh bener2.. resonansi-nya harus bener2 lurus... klo kita imajinasiin, bener2 naik lurus keatas sampe akhirnya hilang.... nah klo ga lurus, berarti mesti di stem... nyetem piano tuh ga seenteng nyetem gitar... udah muter-nya berat, kadang mesti muternya dikit bgt... klo gak pake hati, gak bakal mampu degh muter ratusan pin stem....

Baru online niiih...

Iya... gw juga ngerasa gitu wkt dibeliin piano
Pas dianter ke rumah, si om yg jual piano nyetem
Nyetemnya tuh bener2 yg teliti, satu2.....

Maklum, belum mengerti piano secara jauh, masih 16 taun........ :hehe


Tp kok tuts piano gw ada yg aneh yah?
Di not A# yg oktaf ke 2 dr middle not itu klo dipencet ga bisa balik lagi
Balik lagi bisa, tp klo pedal kiri diinjek, kenapa yah???

itu kayak piano gue. not F# yang oktaf ke-3. :hehe
ngeganggu banget tuh. terutama kalo ada oktaf turun gitu. soalnya ngadatnya biasanya setelah mencet G atau G#. ^^;;

@Forte
katanya sih composer itu biasa dengerin garpu tala setiap pagi. gue ga terlalu tau garpu tala sih. cuma garpu tala itu kan bisa munculin bunyi. katanya sih garpu tala kadang ada yang memuai dsb gitu, jadi frekuensinya tiap pagi beda2. gue agak ga ngerti, karena seinget gue garpu tala frekuensinya tetap yah. kayaknya ada yang gue salah nangkep di sini.

cuma intinya.. ngedengerin garpu tala tiap pagi itu, yang nadanya berubah2 itu, sebenernya buat peka sama nada sih. jadi tanpa mikir2 udah tau satu lagu maen di nada dasar apa. begitu. :hehe

Amras/ Faisal , emang piano nya apa?

Amras, oh, jadi semacam kalibrasi hearing kali yah.
Iya kalo mau dikejer perfect/ presisi tinggi mah, betul lah secara fisika, garpu tala freq nya berubah thd suhu. Meskipun hanya sekikit , tapi mathematically certain tuh.
Begitu juga string piano. Jangankan suhu luar. Sebelum kita main dan sesudah kita main aja ada perubahan suhu di senar.