A Natural History of the Piano: The Instrument, the Music, by Stuart Isacoff

By Stuart Isacoff

A desirable party of the piano, together with stories of its masters from Mozart and Beethoven to Oscar Peterson and Jerry Lee Lewis, advised with the services of composer and writer of Temperament, Stuart Isacoff.
This background takes us again to the piano's humble genesis as an easy keyboard, and exhibits how each person from Ferdinando de’ Medici to Herbie Hancock affected its evolution of sound and impact in well known tune. offering the tool that has been on the middle of musical improvement over the centuries in all its attractiveness and complexity, this explores the piano’s functions and the diversity of emotional expression it conveys in several artists’ arms. A normal historical past of the Piano is fast moving and exciting, with attractive illustrations and images, a must-read for song enthusiasts and pianists of each level. 

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Additional info for A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between

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Boundary Effects There’s one further reflection issue to be wary of: a constructive low-frequency interference commonly referred to as the boundary effect. As you move a speaker closer to a room boundary, it reduces the delay between the direct and reflected sounds arriving at the listening position, making them less and less out of phase. This means that the comb filtering reduces and you start to get just a simple level reinforcement as the reflected sound adds power to the direct sound. However, for two reasons this reinforcement occurs primarily at low frequencies: first, their longer wavelengths shift less out of phase as a result of a given delay, and second, low frequencies are better transmitted by the speaker off-axis anyway.

Can just use picture hooks and string to hold them in place in your studio if you’re happy for Using Nearfield Monitors Chapter 1 them to sag a little over time under their own weight. If you want a tidier look, though, then there’s nothing stopping you from building a simple wooden frame around them (either inside or outside the fabric), and covering it in chicken wire to hold the slab in place more assertively. Alternatively, if you’re as much of a danger to yourself with a saw in your hand as I am, then check out Ready Acoustic’s Chameleon Acoustic Frames, which fit around standard 10cm  60cm  120cm slabs to create a slick final product.

8. Even if you can somehow clamp yourself into the sweet spot, anyone working in the room with you will hear something completely different. Plus, if you’re stuck with having to use your control room for recording as well, the fluctuating frequency response as you move round the room will make finding decent miking positions a tedious guessing game. 1. Equalizers are themselves resonant too, which only compounds the issue. So can equalization usefully combat room modes? For my money, no. foam) you get an increase in the low-frequency absorption if you leave an air gap behind the slab—a foot or so if possible.

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