THE BLACK AND white keys move so fast it’s hard to tell if Jenny Lin is even touching them. Lin, a classical pianist known for virtuosic speed, is sitting at a grand piano in Steinway’s New York offices, as the rest of the room listens intently, focused on the keyboard.
No, she’s definitely not touching the keys. Not this time. Minutes earlier, Lin played a hyper-speed arrangement of George Gershwin’s “I’ve Got Rhythm.” The same song is playing now, except this time Lin hands are on her lap. It’s uncanny, really: The exact same keys are pressed, the exact same trills are heard, the same dynamics are present. It’s a little magical—or “almost scary” as Lin puts it—as though you’re witnessing a prodigious ghost mimic her every move.
It’s not a ghost, of course. It’s technology. Which, considering Steinway’s old-school legacy, is nearly as unlikely an explanation as a poltergeist. Lin is demonstrating the Spirio, Steinway’s newest and first self-playing piano.
When you buy a Spirio—not you, necessarily; they run upwards of $110,000—it comes with an iPad loaded with a Spotify-like app. This app communicates with the piano via Bluetooth, prompting the piano to play any one of the 1,700 songs recorded specifically for the instrument. New songs will sync every week. By itself, an iPad-controlled piano is nifty, if not exactly a technological marvel. What makes Spirio different is that it can play songs with an unprecedented level of accuracy and nuance.
Better Data, Better Music
To understand Spirio’s magic, a brief primer on pianos is in order. Each of the piano’s 88 keys acts as a lever. When you push a key, the hidden part of this lever forces a hammer to hit the piano strings, causing a vibration that creates the sounds you hear. When you release the key, a felt-covered hammer called a damper lands on top of the string, stopping the vibration.
Whereas most player pianos reproduce human performances solely by recording the key strike, Steinway amassed Spirio’s catalog with a far more sophisticated system. Hardware and software embedded into the piano measured the velocity of the hammer hitting the string in 1,020 increments, taking stock of the the hammer’s location and speed 800 times a second. The pedal motion was similarly documented at 200 times per second. This data created a vastly more nuanced picture of what the pianist was doing at any given time, meaning the piano’s built-in songs capture dynamics, repeating notes and the subtleties of the transition, say, from staccato to legato.
A software-controlled solenoid (electro-magnetic) system that’s installed underneath the piano activates the notes. Think of it this way: If you give a robot a paintbrush and tell it to paint Picasso, it might get the lines exactly right. What’s missing is pressure of the brushstroke, the depth of color, the expression that makes it art. That’s what Steinway is trying to achieve with the Spirio.