Electronic piano repairs 101,88 key keyboard guitar center xlr,piano notes for rocket man - Try Out

Author: admin | Category: Learn Piano Online | 12.07.2015

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La calidad de sonido es la de un reproductor MIDI, asi que depende de la calidad del sintetizador o banco de sonidos de tu tarjeta de sonido. Estas leyendo : Electronic Piano, Piano para el ordenador , Piano virtual, descargar gratis . Why learning how to tune a piano aurally when you can use an electronic piano tuner device or a piano tuning software?
Although I always been in favor of aural tuning, (still I am) have to admit that thes days  is possible to tune a piano to areasonable good standard with an electronic tuner. There are two basic types of electronic tuners, the chromatic ones (fairly inexpensive) and the specially dedicated for tuning the pianos used by professionals in general, as we said before, quite dear. With a chromatic tuner you can tune just about anything, You can use a chromatic tuner to tune a piano, but have to follow a certain procedure (already explained by me in another article). One of the most atractive applications I can see is to be able to record a good aural tuning, so you can reproduce in the future as many times as you want. Another important function, probably the most interesting one, is when tuning in noisy environments.
Also an electronic tuner can make life easier when tuning to a non-standard pitch, for instance, A 442. So, you could ask: Why to learn to tune a piano aurally when you can use an electronic piano tuner device or a piano tuning software? In my opinion aural and electronic tuning are compatible, and there is nothing that indicates the contrary. How much money can make a piano tuner, is it profitable?Is it profitable to tune pianos? A few days ago, looking the statistics at the control panel of this site, I saw an interesting phrase by which somebody found us in the Google search engine. Tuning a piano with an electronic tunerThis free guide will show you how to “really” tune a piano with an inexpensive tuner. Tuning a piano in noisy environments, tricks from the proThey called you to tune a piano for a concert at the last hour. There are many electronic stage pianos and software instruments that offer incredible realism due to the use of carefully multi-sampled sound sets, often recorded in world-class studios, with the best of these even going the extra mile to model the sympathetic string resonance that occurs when a piano note is struck with the dampers lifted. Using some form of electronic piano is obviously convenient from the space-saving point of view and it also avoids the cost and complexity of mic’ing. For the trained piano player, either a dedicated electronic piano with a proper weighted piano keyboard action or a software instrument controlled from a weighted master keyboard controller is clearly preferable as the feel of the keyboard is an important part of the playing experience. For some performers however, only a real, acoustic piano will do, and if you have access to a good instrument that is properly tuned, there’s no reason not to put up a couple of microphones and record it the traditional way. Capacitor mics are the most common choice for piano as the piano covers the whole of the audio spectrum and a capacitor mic has the best high frequency extension of any microphone type. The major benefit of the boundary mic is that it doesn’t receive any reflections from the surface to which it is attached simply because the mic is at the reflective boundary rather than in front of it.
I wouldn’t recommend dynamic mics for serious piano recording though some of the better ones (the Sennheiser MD441 springs to mind) can do a pretty good job. The many moving parts that make up a piano can generate a surprising amount of unwanted mechanical noise that would probably go unnoticed in a concert hall during live performance but which close mics may pick up very clearly. While you may not have a grand piano in your studio, it may be possible to record one on location for later incorporation into your project. Similarly it can be argued that a large diaphragm mic is likely to have a less accurate off-axis response than a small diaphragm model, but once again the number of classic recordings made using large diaphragm models such as the C414 prove that this is another rule destined to be broken in the name of art.
Another consideration is volume; a mic close up to the piano strings has to be able to works at high SPLs and in some cases a mic with a pad switch may be necessary to avoid overloading your mic preamp. While you can get a good sounding piano recording using a single mic two metres or more from the piano, facing the partly-open lid, most engineers prefer to record the piano in stereo. Where the room acoustic is beneficial to the instrument, I also like to try spaced omnis as they produce a very natural rendition of both the instrument and room where the mic spacing is usually around 1.5 metres and the mic-to-piano distance 2 to 4 metres.

For a more contemporary pop piano sound, a common approach is to place a pair of mics inside the piano 300mm or so above the strings, beneath the open piano lid. Start off with a pair of mics spaced by around half the width of the piano set up 500 to 700 mm above the top of the piano and a little way in front, just over the keys.
Another slight variation is to leave the covers and lid in place but prop the lid open at around 45 degrees as this will reflect some of the sound towards the player. Paul White is editor in chief of "Sound On Sound" magazine where he shares his musical and recording experiences with other gear addicts. Estas no indican si la aplicacion esta concebida especificamente para esa edad, ni si requiere un determinado nivel para jugar al juego o utilizar la aplicacion. Las teclas admiten combinaciones para los acordes. La interfaz de Electronic Piano es fea pero funcional. Mediante ellas personalizamos anuncios, proporcionamos funciones de las redes sociales y analizamos nuestro trafico.
En la mayoria de casos, deja bastante que desear, pero es suficiente para probar acordes y melodias simples. Tuning a piano with an electronic device never has been completely accepted by the community of piano tuners, specially the senior ones, as it was consider poor quality and unprofessional sort of piano tuning. The only drawback is its high price and therefore the difficulty to make them worth unless you tune many pianos. They can read partials, correct inharmonicity and calculate the stretch for every note in the piano.
Just think, you are inspired and produce an outstanding aural tuning in a particular piano, why not record it? In these situations when hearing the beats can be tricky, an electronic tuner can be of great help and significantly improve your tuning. That kind of tuning is required mainly when the piano is going to play with brass instruments as those have the particularity to lift their pitch when they have been playing for a while.
You tune one piano aurally and record the tuning, then replicate the tuning you have just recorded on the second piano to the exact parameters. An electronic or computer based piano tuner can be a good asset  and certainly a valuable tool for professional piano tuners, but in no way can replace aural tuning.
This tuner looks good and clever but as far as I know can not be used to tune a piano as it works and tune as an ordinary chromatic tuner.
I think people who prefer aural tunings do so because it is more organic, or old fashioned. Given its incredible history, the piano remains the most overlooked instruments of this generation. If you want to tune your own piano and have a decent chromatic tuner, this articule is for you. The time available is ridiculously short, about half an hour, and to top it up is very noisy. Roland is one of the leaders in this area when it comes to hardware pianos for home and stage, and unless the piano is playing a classical solo or is in a very exposed part of the mix, a good sample-based piano (or one using advanced modelling) will do a fine job with the added benefit that you can select between different piano types, most of which you could never afford in their physical incarnation and which would probably not fit into your studio even if you could afford one.
They provide consistent sound regardless of the acoustics of the room and are always in tune. Other players may be happy to record their sampled piano software instruments using a non-weighted keyboard of the type used for general synth or organ performance.
In many cases it is better to reduce the effect level or even turn it off altogether so that you can add a more sophisticated room ambience later, perhaps using a reverb plug-in based on impulse responses taken from real concert halls, studios or other suitable performance spaces.
Having said all that in favour of the capacitor mic, I attended a session at Air Studios shortly after the launch of the  sE RN1R ribbon mic designed in conjunction with Rupert Neve, which demonstrated that the new generation of extended range ribbon mics are capable of producing an extremely natural piano sound with plenty of high end detail. On more modern instruments, which tend to have much more durable finishes, double-sided sticky foam pads work well as they are secure and also damp out some of the vibrations carried via the piano lid. The majority of dynamics mics, however, roll off above 15 or 16kHz whereas the response of capacitor mics often extends out beyond 20kHz. A grand piano is physically large and its sound is generated both by the vibrating strings and by the soundboard to which they couple so any mic used fairly close to the instrument will receive sound both on and off-axis. Keep in mind too that both cardioid and figure-of-eight pattern mics are susceptible to the proximity effect causing low frequencies to be boosted when the mics are used up close to the instrument. A purely scientific analysis then might seem to suggest that a small diaphragm, omni pattern, capacitor mic with a fairly high SPL handling capability is the best option, but the reality is that you can get a good sound with all kinds of microphone types so some experimentation may be necessary to see what produces the most pleasing subjective result. The lid acts as a natural reflector that throws the sound towards the audience, which is why you mic from this direction. Of course this won’t give you high strings on one side and low strings on the other but you will capture a stereo sense of room ambience which is well-suited to classical performances.
As with the boundary mic setup, one mic goes over the bass strings and the other over the treble string group, though some fine adjustment may be needed to get an even coverage of notes across the keyboard.

It may not exhibit the sonic grandeur of the concert grand but works well in many pop styles.
Here my usual approach is to remove the lid and upper front cover to give the sound a little more space to breathe, though occasionally you’ll capture a better tone by leaving the front cover in place — it all depends on the instrument and the acoustics of the room.
This should produce a fairly even coverage across the strings but the mic distances and positions can be tweaked to improve the evenness of the coverage if necessary.
A pair of mics set up either side of the player and aimed half way up the open is a good place to start. In most cases adding reverb or ambience will have the effect of narrowing the stereo image slightly so always judge the stereo width in the context of the whole track and with any effects turned on. Tambien compartimos informacion sobre la manera en que usa nuestro sitio con nuestros socios de redes sociales, publicidad y analisis. However, during the last decade or so, have appeared a new generation of much more accurate electronic tuners and computer programs. Also these chromatic tuners can’t read too well the very low and high frequencies of the piano, so you must have the ability to tune by ear at least unisons and octaves.
All these functions are produced automatically, so you only have to worry about reading and tuning.
So when you tune again the same piano you can replicate the same excellent tune you did before.
In some of these electronic or computer tuners you have also the possibility to connect accessories like a contact mike. To have a good insight of his job a piano tuner should always be able to tune a piano aurally.
Drop us a line with the serial number and pictures included and we will tell you exactly the age of your piano, along with any other information we might have. There’s also no risk of pickup up spill from other instruments, though for a satisfactory playing experience with a piano plug-in, use as low a buffer size in your DAW as you can get away with and also bypass any unnecessary plug-ins to minimise latency.
Since then the less costly sE Voodoo ribbon mics have been released and these too have a very open-sounding high end combined with traditional ribbon smoothness. Start by putting one mic above the treble strings, and and the other above the bass strings, close to the hammers, each positioned at the centre of their string group. Of course you can use dynamic mics if you need the effect of a deliberately restricted top end and apparently this technique was used on some of the Beatles’ tracks. Squeaking wooden parts can often be cured by rubbing candle wax onto any moving parts that touch, though clonks caused by wear in the mechanism may take more fixing. This being the case, there is a technical argument for using omni or figure-of-eight pattern mics as they have a far more consistent off-axis response than typical cardioid pattern mics. This suggests that where mics are being placed inside the piano lid, omni or boundary mic (hemi-omni) models may be a safer choice than cardioids or figure-of-eights, though it is possible to use cardioids or figure-of-eights of mic in conjunction with some low cut filtering to balance the sound. You can vary the amount of room acoustic in the final recording by varying the mic distance.
Where other instruments are playing at the same time, the amount of spill reaching the piano mics can be reduced by hanging duvets or blankets over the piano so as to block off the open side of the lid. Moving the mics towards the piano so the are pointing straight down into the workings tends to produce a brighter tone while moving them further towards the player, or even behind the player, tends to capture a warmer sound. This can be thought of as being equivalent to a scaled down version of the grand piano mic’ing arrangement.
If the piano is well recorded, you’ll probably need little in the way of EQ but cutting out the ultra-lows always helps preserve headroom and it keeps your mixes from sounding muddy. You can clear the sticky residue from the finish when you’re done using spray furniture polish. I’ve used elastic bands in the past to keep a pedal pressed hard to one side so as to take out the play in the mechanism.
However, there have been some great sounding piano recordings made using cardioid pattern mics set up either as a coincident stereo pair or as a spaced pair, so the rules are clearly very flexible and only the subjective result matters.
Where the room ambience is less useful, improvised screens (duvets again!) behind and to the sides of the mics will help dry up the sound.
Metal parts that squeak can usually be cured by a squirt of WD40 or similar oil, so if you’re recording on location, make sure you take plenty of elastic bands, an old candle and some oil as well as that faithful standby, a roll of gaffa tape.

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