Piano Music

Recording 97

Recording 97 is the first one since version 3 of the LED bar was finished. Version 4 is being printed in transparent filament for comparison, and a version 5 design with

Recording 96

Recording 96 was finished during a week with no live streams. The streaming schedule is now seven weeks on and one week off, plus any week with work travel, and the next

Recording 95

Recording 95 is the first one made with version 2 of the LED bar over the keys. The bar puts more focused light on the hands, which helps on camera, but too much of it re

Recording 94

I finished Recording 94 at the beginning of the week to make more room for album work. The video keeps the overhead view of the acoustic piano and the current Piano VFX t

Recording 93

Recording 93 is a 4K/60 Disklavier set with Piano VFX over the real overhead piano. The source mornings were June 19 and June 22.

Recording 92

Recording 92 is the first weekly episode being prepared for 4K video delivery. The overhead piano footage and Piano VFX composite remain part of the finished Final Cut Pr

Recording 91

After a lot of measuring, test prints, and revisions, the LED rail now has printed mounts and bar sections that work. That replaces the temporary metal ends. The next st

Recording 90

I got a 3D printer so I can replace the angle-iron ends with printed mounts that sit in the fallboard supports. The metal worked, but I never liked that hardware that clo

Recording 89

First working LED rail. Removable aluminum bar in the existing fallboard supports — nothing glued to the finish or the keys. A Raspberry Pi reads the MIDI and drives per-

Recording 88

I spent this episode fighting Piano VFX drift. One MIDI timing issue is fixed, but a longer render still walks off the keys. The reliable fix is splitting the VFX layer b

Recording 87

Seven pieces from May 28 through June 2. New camera: much closer to true overhead, more keyboard in the frame, the inside of the Yamaha C7 visible. I had to pull the key

Recording 86

Seven pieces from May 25–28. First episode with Piano VFX all the way into the finished video: real overhead piano underneath, falling notes composited in Final Cut so th

Recording 85

Six pieces from May 21 and May 25. I took 56 of my own past edits and had the production model try the first timing pass instead of Smart Tempo. Through the middle of a s

Recording 84

Five pieces from May 19–20. I recorded this back-to-back with the previous episode in one sitting so two weeks would already be in the queue.

Recording 83

Five pieces from May 15–19. Recorded as part of working ahead. No new camera or MIDI change this week.

Recording 82

Six pieces from May 13–18. A quieter production week. Same compile: morning streams cleaned up into one listen.

Recording 81

Six pieces from May 11–13. The change you can hear is the sustain pedal. When timing gets stretched, the tiny gap where the pedal lifts can collapse and the next chord la

Recording 80

Six pieces from May 6–8. The real ship this week is chapters on everything. Streams get song names. Spontaneous pieces are labeled Selah in the key they live in. Podcast

Recording 79

Seven pieces this week, from four mornings (April 30 through May 5). I recorded it a week early so I can keep a couple of episodes in the queue. For the live-room clips

Recording 78

A short week on the bench. Same compile of the morning streams into one listen. No new instrument or camera work to report.