MENTION THE WORD hybrid today and most people think of cars that combine a traditional internal-combustion engine with an electric motor to improve gas mileage and reduce emissions. By definition, a hybrid — whether a rose, a breed of dog, or a car — results from the combination of two different backgrounds or technologies. Now the piano has joined the ranks of the hybrids.
A hybrid piano combines electronic, mechanical, and/or acoustical aspects of both acoustic and digital pianos, in order to improve or expand the capabilities of the instrument. While applying the term hybrid to piano designs is a recent development, the practice of combining elements from acoustic and digital pianos is more than 25 years old.
A hybrid piano can be created from either an acoustic or a digital piano, but we need to be clear about our definitions of acoustic and digital. The essential difference between acoustic and digital pianos is in how the sound is produced. In an acoustic piano, a sound is produced by the mechanical act of a hammer hitting strings, causing the strings to vibrate. In a digital piano, the sound is produced electronically, either from previously sampled acoustic pianos, or by physical modeling that employs a mathematical algorithm to produce sounds like those of an acoustic piano. (Here we're speaking only of that aspect of a digital piano that is designed to produce a piano-like sound. Digitals typically also can produce many other instrumental and non-instrumental sounds.)
On the acoustic side, the original hybrid instruments were not new pianos, but modifications of already existing pianos. In 1982, with the advent of Musical Instrument Digital Interface (MIDI), a computer language for musical instruments, instruments from different makers could "speak" to one another. Soon after, various kinds of mechanical contacts were invented for placement under the keys to sense keystroke information such as note, key velocity, and duration, and convert it into MIDI data. This MIDI information was then routed to synthesizers, which turned the information into whatever instrumental sounds the attached synthesizer was programmed to produce. When one instrument is used to control another in this manner through the transmission of MIDI information, the first instrument is called a MIDI controller. At the beginning, however, the sound of the acoustic piano could not be turned off, though it could be muffled in vertical pianos.
Early mechanical key contacts were subject to breakdown, or infiltration by dust, and their presence could sometimes be felt by sensitive players and interfere with their playing. The more advanced key contacts or sensors used today involve touch films or optical sensors that are more reliable and accurate, and add no significant weight to the touch. In time, also, mechanisms were invented for shutting off the acoustic piano sound entirely, either by blocking the hammers from hitting the strings, or by tripping (escaping) the action train of force earlier than normal, so that the hammers lacked the velocity needed to reach the strings. Headphones would block out any remaining mechanical noise, leaving only the sounds of the electronic instrument.
Not surprisingly, most makers of these MIDI controller/acoustic hybrid systems have been manufacturers of electronic player-piano systems. The same MIDI sensor strip used under the keys of these systems for their Record feature (which allows players to record their own playing for later playback) can also transmit the MIDI information to a digital sound source: either an internal source that comes with the piano (a sound card) or an external one, such as a synthesizer or a computer with appropriate software installed. All player-piano systems today allow, through MIDI control, for the accompaniment of the acoustic piano sound by digitally produced sound, be they other piano-like sounds, other instrumental sounds, or even entire orchestras.
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