Pianistically wrote:snurrfint wrote:Pianistically wrote: Sorry, I didn't reply specifically to the point you made about impedance. Decay of sound duration is just one the consequences of efficient transfer of energy between the strings and the soundboard . But the impedance does more than that.The Impedance in audio acoustics is a measure of resistance to the flow from one device to another . In piano acoustics , the impedance of the soundboard characterises how efficiently the strings vibrations energy is transmitted via the bridge, to the soundbooard. Having read many articles on the subject , in particular from PHD Juliette Chabassier who contributed to the development of Pianoteq, It is supposedly the most complex area of modelling . The reason I mention to test with a null impedance is that in theory you need the impedances of the strings & soundboard to match . Therefore a null impedance would mean that the soundboard would act a a short circuit. However and this is why I mentioned in my original post 'I was assuming it' , the actual value of the impedance of the soundboard in Pianoteq design parameters may just a proxy value that doesn't represent the actual value of either the physical soundboard modelled or the real efficiency from 0 to max value of the real energy transfer.
Im not sure I understand what you are trying to say. If you reduce the energy transfer from X to 0, you would get absolutely no sound, right? If you don't count the mechanical sounds the keys are doing while playing.
Transducers on a soundboard is basically just a very large speaker. It will behave just like bookshelf speakers and headphones will. The only difference is that the speaker element is replaced with a piano soundboard, so you will get a very realistic experience, when it comes to the sonic perception of actually beeing in front of a real piano. Since the speaker element is so big, the sound does not appear to come from a specific point, but surrounds you in a very piano like fashion, and the piano will vibrate in a more pianolike fashion too. Placement of the transducer, the type of wood used, thickness of the soundboard and other parameters will effect what frequencies are amplified. Each transducer piano will have its own character in that sense, just like real pianos, and regular speakers too but to a lesser degree.
You would get the basic resonance from the cabinet and strings so a very thin + noises in absence of soundboard which is more or less what you get wench you nullify the impedance.
Standard speakers are basically conventional cone speakers and cannot be compared and do not respond like a vibrating acoustic soundboard , they are just reproducing the audio signal. A traditional cone speaker pushes air directly as the cones moves back and forth while a soundboard works by resonating in multiple dimensions. The resulting resonances, sympathetic vibrations are unique.
So in a nutshell, yes standard speakers and soundboard achieve the same role in the overall sound production chain, but the 'how' is done is quite is quite different as the physics are different and I think the analogy very often made such as ' a soundboard is just a big speaker' is over simplifying the different nature of these two devices.
The resonance of the soundboard plays a huge fundamental part in the making of the sound of an acoustic piano. The point I was trying to make is that if you keep modelled soundboard resonance within standard pianoteq engine + resonance of a real soundboard instead of traditional DP speakers , you may end up with two much resonance and overtones hence the idea of bypassing that element (soundboard) in the engine itself as it seems to me that there is no need to model it given in this scenario the device exists physically .
Now I understand more what you are trying to say. Thanks for the clarification, and I largely agree with what you say. One thing to note is that a soundboard also pushes air directly just like a speaker membrane does. Soundwaves are just vibrations in the air after all.
And yes, a soundboard may amplify some overtones and frequencies twice, and reduce others by the nature of the material used, which is something you want to embrace, not work agains imo.
You can analyze the frequency spectrum of any piano soundboard and work out its properties and then use advanced EQ to get a very even output. One that is not amplifying or reducing any frequencies. But I lack the equipment and frankly don't really care to much, as long as Im satisfied with the end-result, which I am. I use an EQ to lower some of the frequencies that my ears are sensitive to, and in other ways to shape the sound to my liking. Thats typically enough. Im not in the business of trying to replicate the exact Stainway piano that pianoteq sampled their reference sounds from, but it might be fun experiment for someone else.
Im also one of those who rather play a character-piano than a well regulated 9 foot grand, so if my piano soundboard changes the sound in any way that adds character to it, im all for it, as long as the sound is pleasant and not harsh in any way.
Thanks for insightful comments.
Last edited by snurrfint (Today 07:59)
