Perception of interactive vibrotactile cues on the acoustic grand and upright piano

An experiment has been conducted, measuring pianists’ sensitivity to piano key vibrations at the fingers while playing an upright or a grand Yamaha Disklavier piano. At each trial, which consisted in playing loud and long A notes across the whole keyboard, vibrations were either present or absent through setting the Disklavier pianos to normal or quiet mode. Sound feedback was always provided by a MIDI controlled piano synthesizer via isolating ear/headphones, which masked the acoustic sound in normal mode. In partial disagreement with the existing literature, our results suggest that significant vibrotactile cues are produced in the lower range of the piano keyboard, with perceptual cut-off around the middle octave. Possible psychophysical mechanisms supporting the existence of such cues are additionally discussed

Un Prototipo Di Pianoforte Digitale Con Feedback Vibrotattile

Questo lavoro presenta i risultati di due esperimenti percettivi compiuti su un prototipo di pianoforte digitale aumentato. L'obiettivo di entrambi gli esperimenti era studiare la percezione da parte del pianista di feedback vibrotattile sulla tastiera. Nel primo esperimento i soggetti coinvolti dovevano suonare liberamente al variare del feedback, e fornire un giudizio sulla qualit\ue0 percepita dello strumento in una griglia di cinque attributi: controllo dinamico, ricchezza, coinvolgimento, naturalezza, e preferenza complessiva. Nel secondo esperimento si \ue8 misurata l'accuratezza (in termini di tempo e di controllo dinamico) nell'esecuzione di una scala, al variare del feedback. I risultati mostrano una preferenza per le condizioni in cui \ue8 presente feedback vibrotattile, tuttavia per quanto riguarda l'accuratezza dell'esecuzione non sono state osservate differenze significative tra le diverse condizioni

Detection of keyboard vibrations and effects on perceived piano quality

Two experiments were conducted on an upright and a grand piano, both either producing string vibrations or conversely being silent after the initial keypress, while pianists were listening to the feedback from a synthesizer through insulating headphones. In a quality experiment, participants unaware of the silent mode were asked to play freely and then rate the instrument according to a set of attributes and general preference. Participants preferred the vibrating over the silent setup, and preference ratings were associated to auditory attributes of richness and naturalness in the low and middle ranges. Another experiment on the same setup measured the detection of vibrations at the keyboard, while pianists played notes and chords of varying dynamics and duration. Sensitivity to string vibrations was highest in the lowest register and gradually decreased up to note D5. After the percussive transient, the tactile stimuli exhibited spectral peaks of acceleration whose perceptibility was demonstrated by tests conducted in active touch conditions. The two experiments confirm that piano performers perceive vibratory cues of strings mediated by spectral and spatial summations occurring in the Pacinian system in their fingertips, and suggest that such cues play a role in the evaluation of quality of the musical instrument