ABOUT THE SPEAKER
John Q. Walker - Musician and inventor
Software entrepreneur John Q. Walker uses computers to bring piano legends back to life -- digitally reconstructing their performances from audio tracks and playing them on real instruments, live.

Why you should listen

Glenn Gould, Thelonious Monk, Art Tatum: legends of live piano performance lost to time. But John Q. Walker asks us to imagine hearing those great, departed musicians play again today, just as they would in person. Such is the promise of Walker's company, Zenph Studios, which builds technology to re-create live music performances. Piano tracks are converted into precise keystrokes and pedal motions -- then played back on computer-controlled grand pianos.

Before founding Zenph in 2002, Walker was a leading developer of VoIP, and was influential in the creation of the IEEE 802 local-area network (LAN) and the 802.11 wireless LAN (“Wi-Fi”) standards. He is himself a devoted pianist.

More profile about the speaker
John Q. Walker | Speaker | TED.com
EG 2007

John Q. Walker: Great piano performances, recreated

John Walker 重現偉大的鋼琴表演

Filmed:
372,416 views

夢想能聽到當初鋼琴大師的演奏, 就像是親臨現場的音質. John Q. Walker 現場展現如何從錄音分析出精確的彈鍵與踏板動作, 再以電腦控制的三角大鋼琴完整重現.
- Musician and inventor
Software entrepreneur John Q. Walker uses computers to bring piano legends back to life -- digitally reconstructing their performances from audio tracks and playing them on real instruments, live. Full bio

Double-click the English transcript below to play the video.

00:16
Ninety-nine九十九 percent百分 of us have the dream夢想 of listeners聽眾.
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99%的我們都是音樂聆聽著
00:20
Not being存在 the musicians音樂家 -- the listeners聽眾, right?
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不是音樂演奏者, 是聆聽者, 對吧?
00:22
And we crave渴望 one thing,
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我們都渴望一件事
00:24
even though雖然 we kind of don't know it all the time.
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雖然我們常不自覺
00:26
We crave渴望 to be in the room房間 with the musician音樂家
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但我們渴望能與音樂家同在
00:31
the day it was recorded記錄, the day it was played發揮.
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錄音室中, 看著錄音的完成
00:33
And we go to live生活 concerts音樂會, and we get that as much as we can.
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同理, 我們總是喜歡盡可能地到現場聽音樂會
00:36
But then we listen to the other 99 percent百分 of our stuff東東 recorded記錄.
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但又總是花99%的時間聽被錄製的音樂
00:39
And it turns out the further進一步 back you go in history歷史,
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事實是 聽越久遠的錄音
00:42
the little rougher粗糙 it sounds聲音.
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失真越多
00:44
And so we said, there's a solution to this.
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我們提供了一解決方式
00:48
Let's separate分離 the performance性能, as a thing,
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我們要把演奏這件事與
00:52
out from the recording記錄, which哪一個 was how it was made製作.
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錄音分離 就是錄音現場狀況
00:55
You know, the thing with microphones麥克風 in the room房間 and all that day.
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就像是麥克風那一整天設在錄音室中
00:58
But the performance性能 itself本身 was how the musicians音樂家 worked工作 their fingers手指,
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而演出是只音樂家如何移動他們的手指
01:01
and what instruments儀器 they were using運用.
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彈奏他們的樂器
01:03
And it's the data數據 hidden inside the recording記錄.
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這些是錄音後被隱藏的數據
01:08
In order訂購 to do this, it's a lot of hardware硬件 and software軟件
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為了克服 需要大量的硬體與軟體分析
01:11
that runs運行 in a very high resolution解析度.
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以高解析度的方式處理
01:13
And Yamaha雅馬哈 makes品牌 an incredible難以置信 thing called the Disklavier的Disklavier Pro
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Yamaha 作出一驚人的產品 叫 "Disklavier Pro"
01:17
that looks容貌 like a nice不錯 grand盛大 piano鋼琴 there.
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它看起來只是個三角大鋼琴
01:19
And you probably大概 didn't realize實現 it's going to do all these things --
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但有所不知的是它能作所有的事
01:21
but full充分 of solenoids螺線管, and fiber纖維 optics光學, and computers電腦
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有著很多的線圈, 光纖 以及 電腦
01:24
and all this kind of stuff東東. The highest最高 resolution解析度 out of Japan日本.
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等等硬體裝置 --- 有著日本最高的解析度
01:27
And this just didn't work until直到 we could cross交叉 this line that says high-definition高清.
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這些都無法成功直到我們稱它是"高傳真清晰度"
01:31
And we were able能夠 to cross交叉 this line, called the uncanny神秘的 valley,
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才成功的跨過阻礙
01:34
in terms條款 of -- artificial人造 intelligence情報 terms條款.
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利用人工智慧
01:39
We have a process處理 where we, you know,
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軟體處理
01:41
kind of put it into the computer電腦 and digitize數字化 it, and then a whole整個 lot of analysis分析.
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用電腦數位化後做大量分析
01:44
And we look at every一切 single note注意,
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我們分析每一音符
01:46
and all the attributes屬性 of those notes筆記:
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以及其他的屬性
01:48
how hard they were struck來襲, and how they were held保持 down,
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音鍵是怎麼被敲下 以及持續被壓下多久
01:50
and how you move移動 the fingers手指.
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又是怎麼移動手指
01:52
So we had to develop發展 a whole整個 new science科學 of how you move移動 your fingers手指.
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所以我們建立了一個全新的科學研究手指如何在琴鍵上移動
01:54
And, you know, it's a thing your piano鋼琴 teacher老師 teaches you,
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就是那些細節你的鋼琴老師會教你的
01:57
but we never had a science科學 behind背後 these kinds of things.
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但我們從沒一個科學研究這些問題
02:00
I'm going to start開始 with Glenn格倫 Gould古爾德.
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我要先介紹"Glenn Gould"
02:02
He died死亡 25 years年份 ago this year, and was born天生 75 years年份 ago this year.
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他出生75年前 但於25年前離開人世
02:06
Was a beloved心愛 pianist鋼琴家, maybe the great cult禮拜 pianist鋼琴家 of the twentieth第二十 century世紀.
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是個受人愛戴的鋼琴演奏家 可能是20世紀最為大的異類鋼琴師
02:10
He just got tired of being存在 in front面前 of an audience聽眾,
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他厭倦在觀眾前演出
02:12
and felt like -- a performing執行 monkey was, in fact事實, his term術語.
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感覺就像是"耍猴戲" 他就是這麼說過
02:14
So he stepped加強 back, and did nothing but the crafting各具特色 of his work.
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所以他退下來 專研他的作品
02:18
And Gould's古爾德 specialty專業 was playing播放 Bach過獨身生活.
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Gould 的專長就是演奏巴哈
02:20
His maybe most famous著名 recording記錄
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可能是他最有名的作品是
02:22
was something called "The Goldberg戈德堡 Variations變化."
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"戈德堡變奏曲"
02:24
Bach過獨身生活 only wrote themes主題 and variations變化 one time.
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巴哈只寫下些主旋律與變奏
02:27
He wrote some early pieces,
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Gould也在早年改寫些
02:29
but late晚了 in his life, in his mature成熟 period,
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但到了晚期, 也就是他的成熟期
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he said, "Here's這裡的 a theme主題 -- 30 variations變化."
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他輕鬆的完成 30組變奏曲
02:34
In fact事實, the theme主題 isn't even the melody旋律, it's the bass低音 line.
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事實上主調還不是旋律 而是低音線
02:37
And Gould古爾德 recorded記錄 it in two major重大的 recordings錄音 that you may可能 know about,
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Gould錄製在兩種錄音方式
02:42
one in mono, and one in stereo立體聲.
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一在單音 一在立體聲道
02:44
And the one in mono, by the way, he used the pedal踏板,
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在單音錄製時 他用了踏板
02:47
and as he got older舊的, he said, "No, no, wait a minute分鐘.
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待他年長 他說 "不!不! 等等
02:50
I'm going to get very scientific科學 about this, and not use the pedal踏板."
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我得要更科學些而不用踏板錄音"
02:53
What I'd like you to hear live生活 is the 1955 version,
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現在要為你們現場展示的是 1955年的版本
02:57
and we'll play the first couple一對 pieces of it.
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我們只會演奏開始的一些片段
02:59
Glenn格倫 Gould古爾德, 1955.
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Glenn Gould, 1955 作品 ...
03:02
(Music音樂)
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(鋼琴聲)
05:35
How about that?
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如何?
05:37
(Applause掌聲)
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(掌聲)
05:41
So let me tell you a little bit how this was doneDONE.
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讓我告訴你們這是如何做到的
05:43
First of all, let me get you to the end結束 step.
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首先 讓我帶你們到最後階段
05:45
This is -- we have a fairly相當 complex複雜 process處理
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我們有了複雜的過程
05:47
that, you know, software軟件 and musicians音樂家 and so on,
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一大堆的軟體與音樂家等等
05:50
but when we're all doneDONE, we know that the ear is the final最後 arbiter仲裁者.
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但當我們完成後, 我們知道耳朵才是最後的仲裁
05:55
We can play the original原版的 in one ear, and a new recording記錄 in the other.
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我們可以用一隻耳朵聽原曲, 而在另一耳朵聽新錄製的
05:58
So I'm going to do this for you right now, what you just heard聽說.
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而我也要為你們示範剛聽到的曲子
06:01
And in the right speaker揚聲器 is going to be the original原版的 recording記錄,
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所以右聲道喇叭是原始錄製
06:03
and the left speaker揚聲器 is going to be the new recording記錄,
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左聲道喇叭是新錄製
06:06
actually其實 of an instrument儀器 just like that one,
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類似這鋼琴的新錄製
06:09
and I'm going to play them together一起 at the same相同 time.
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我會同時播放左右聲道
06:11
(Music音樂)
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(鋼琴聲)
06:17
That's the original原版的. [Unclear不清楚] That's the two together一起.
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原始的
06:19
(Music音樂)
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(鋼琴聲)
06:55
Before "Jurassic侏羅紀 Park公園,"
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在電影"侏儸紀公園"前
06:57
there was no science科學 for how skin皮膚 hung off of muscle肌肉, right?
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從未顯示恐龍的皮膚是如何長在考古研究後的肌肉上, 對吧?
07:03
So, in the video視頻 world世界,
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所以在影像的世界中
07:04
we've我們已經 been able能夠 to invent發明, in our lifetimes壽命, natural自然 behavior行為.
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我們已經能用科技重現自然狀態
07:07
And this is kind of another另一個 example
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我們這個就是另一
07:09
of putting a science科學 behind背後 natural自然 behavior行為.
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用科學重現當初原始的風貌
07:12
And then you heard聽說 the original原版的.
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也就是讓大家能聽到原始的現場
07:14
Ultimately最終,, I started開始 with the experience經驗.
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終極的 挑戰體驗
07:16
And the experience經驗 is: I want to be in the room房間 and hear the musicians音樂家.
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就是要能與錄音的音樂家同在一個錄音室中
07:20
Lots of you can afford給予 to buy購買 one of these.
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相信許多其中的你們能買得起這樣的鋼琴
07:22
But, if not, there is now high-definition高清 surround環繞 sound聲音.
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若不能 現在也有 高傳真的環場音響
07:28
And I got to tell you, if you haven't沒有 heard聽說 high-definition高清 surround環繞,
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讓我提醒你 如果你還沒有聽過高傳真音效
07:31
go down to your audio音頻 dealer零售商, your audiophile發燒友 dealer零售商.
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快去音響經銷商試聽
07:33
It's so involving涉及 compared相比 to regular定期 stereo立體聲.
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比一般音響更有臨場感
07:37
But if you don't have that, maybe you can listen on your headphones頭戴耳機.
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如果沒有這些 建議你用耳機收聽
07:39
And so on the same相同 disk磁盤 we have five recordings錄音 --
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同張CD上 有5首錄音
07:41
Sony索尼 has five recordings錄音.
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SONY有5首錄音
07:43
And you could listen in headphones頭戴耳機
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可以用耳機收聽
07:45
with this thing called binaural雙耳 recording記錄.
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利用了這叫"雙耳錄音法"
07:48
And it's a dummy head that sits坐鎮 in front面前 of the instrument儀器,
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就是個假人頭放置於樂器前
07:52
and it's got microphones麥克風 where the ears耳朵 are.
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假人的雙耳部分各有一麥克風
07:56
And when you put on headphones頭戴耳機, and you listen to this,
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所以當你戴上耳機時
07:58
you're inside of Glenn格倫 Gould's古爾德 body身體.
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你就好像是在Glenn Gould 的演奏位置
08:00
And it is a chuckle暗笑 until直到, you know, the musicians音樂家,
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這會是會心的微笑的
08:03
who are musicians音樂家 who play the piano鋼琴, listen to this, say,
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當真的演奏家自己聽到這錄音會笑說
08:05
"I can't believe it! It's just what it's like to play the piano鋼琴."
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"我不敢相信 聽起來就好像是在演出中"
08:07
Except now you're inside Glenn格倫 Gould's古爾德 body身體 playing播放 the piano鋼琴,
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差別是 你實際是在 Glenn Gould 的位置彈奏鋼琴
08:09
and it feels感覺 like your fingers手指 are making製造 the decisions決定
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感覺像是你的手指在決定如何彈奏
08:11
and moving移動 through通過 the whole整個 process處理.
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移動在琴鍵上
08:13
It's a game遊戲 changer.
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是個業界革命性改變
08:15
Here's這裡的 now something we know in spectacular壯觀 quality質量.
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這裡是我們所了解成就驚人品質的因素
08:17
The whole整個 process處理 is very sensitive敏感 to temperature溫度 and humidity濕度.
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樂器重現的整個過程 對溫溼度的變化相當敏感
08:21
What you heard聽說 today今天 was not perfect完善.
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今天所聽到的並不是最完美的
08:23
It's an amalgam汞合金 of wood, and cast iron, and felt,
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是木頭 鑄鐵 鋼弦
08:27
and steel strings字符串, and all these,
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等等的混合狀況
08:29
and they're all amazingly令人驚訝 sensitive敏感 to temperature溫度 and humidity濕度.
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它們對溫溼度變化都非常敏感
08:32
So when you go into the recording記錄 session會議,
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所以當要開始一錄製過程
08:35
you get to stop after every一切 piece and rebuild重建 the piano鋼琴 if you need to.
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你必須要在每首錄製後停下檢查 必要時得重新建構鋼琴
08:39
There's the whole整個 action行動 there, sitting坐在, kind of, on the side,
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所有的錄製得停下待命
08:41
and the dummy head and our recording記錄 engineers工程師
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包括假人頭與錄音工程師
08:43
standing常設 around while we rebuild重建 the piano鋼琴.
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都得在一旁待命
08:45
Without沒有 putting dates日期 next下一個 to these things,
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沒有確定的時間表
08:47
step-by-step一步步 music音樂 will be turned轉身 into data數據,
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按部就班地 音樂就能轉換成數據
08:50
like every一切 field領域 that's occurred發生 in the past過去 35 or 40 years年份.
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就像是每個專門領域的過去35~40年的發展
08:54
Audio音頻 has come very late晚了 to this game遊戲 --
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音響是較晚加入這場發展
08:57
I'm not talking about digitizing數字化, and bits, and re-mastering重制.
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不是指那些數位化, 數據, 與再混音錄製
09:00
I'm talking about turn it into the data數據 that it was made製作 from,
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而是重現最初錄音時細節與狀態數據
09:03
which哪一個 is how it was performed執行.
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也就是剛剛所呈現的
09:05
And audio音頻 came來了 very late晚了 because our ears耳朵 are so hard to fool傻子 --
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音響是最後加入精進行列, 是因為我們的耳朵是非常難去欺騙的
09:08
they're high-resolution高分辨率, and they're wired有線 straight直行 to our emotions情緒,
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它們是高解析度 它們是直接連到情緒反應
09:11
and you can't trick them very easily容易.
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無法騙過它們
09:13
Your eyes眼睛 are pretty漂亮 happy快樂 with some color顏色 and movement運動, you know.
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我們的眼睛只要求顏色與動態
09:16
All right, there's this episode插曲 of "Star Trek跋涉."
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舉例一集"星際爭霸戰"
09:19
(Laughter笑聲)
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(笑聲)
09:22
I get it -- it was all just laid鋪設 in for me yesterday昨天 there.
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昨天就像在我面前
09:24
The episode插曲 of "Star Trek跋涉" for me was James詹姆士 Daly達利 played發揮 Methuselah瑪土撒拉 --
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那集的星際爭霸戰是 James Daly 飾演 Methuselah
09:28
remember記得 this one?
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記得這集嗎?
09:30
And at some point he's dancing跳舞 with his --
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他在其中一段跳起舞來...
09:33
and I won't慣於 ruin廢墟 the episode插曲 for you, from 1967.
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我不會跟你講1967年的這集的內容的,放心
09:35
Right, do you know where I'm going?
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你知道我想說什麼
09:37
And NimoyNimoy, I'm sorry, Spock斯波克 sits坐鎮 down at the piano鋼琴,
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Nimoy 喔不! 是劇中的Spock 坐在鋼琴前
09:39
and he starts啟動 playing播放 this Brahms勃拉姆斯 waltz華爾茲舞, and they all dance舞蹈 to it.
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他開始彈起了布拉姆斯的華爾茲 他們也就跳起舞來
09:43
And then Spock斯波克 turns round回合, he goes,
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Spock 站起說
09:45
"James詹姆士, I know all of the Brahms勃拉姆斯 waltzes圓舞曲,
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"詹姆士, 我知道所有的布拉姆斯的華爾茲
09:50
and I don't believe this is one of them in the category類別."
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我相信這曲並不是歸類在他之下"
09:54
That's where I'm at.
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這就是我要說的
09:56
I want to hear the waltzes圓舞曲 Brahms勃拉姆斯 didn't write.
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我想聽到布拉姆斯沒寫過的華爾茲
10:00
I want to hear the pieces that Horowitz霍洛維茨 didn't play.
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我想聽到 Horowitz 沒彈奏過
10:04
But I believe we're on a path路徑 now, when we get to data數據,
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我相信我們是正朝向那個方向
10:09
that we can distill蒸餾 styles款式, and templates模板, and formulas公式, and all these kinds of things,
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我們能萃取出風格 樣式 與 規則 等等細節
10:13
again, that you've seen看到 happen發生 in the computer電腦 graphics圖像 world世界.
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就像在電腦動畫世界中所體驗的重現
10:16
It's now coming未來 in this world世界.
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這樣的可能即將來臨
10:18
The transition過渡 will be this one.
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轉換就是這個
10:20
It says right now, we think music音樂 is notes筆記 and how they're played發揮.
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我們認為音樂就是音符以及他們如何被演奏
10:23
And I believe this is coming未來.
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我相信即將來臨
10:25
Because what you've just heard聽說 was a computer電腦 playing播放 data數據 --
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因為剛剛聽到的就是電腦演奏數據 --
10:30
no Glenn格倫 Gould古爾德 in the room房間.
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沒有 Glenn Gould 在現場
10:32
But yet然而, it was human人的.
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但能感受到就像是真人彈奏出的
10:34
And I believe you'll你會 get to the next下一個 step, the real真實 dream夢想 of listeners聽眾.
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我也相信你會升級到另一階 聆聽者的夢想
10:37
Every一切 time you listen to a recording記錄 today今天,
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每次你聽到一錄音
10:40
every一切 time you take out your iPodiPod的 and whatever隨你,
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每次當你拿出iPod 或是其他
10:42
every一切 time you listen to it, it's the same相同 thing -- it's frozen凍結的.
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每次你聽到音樂 都是同樣的感受 就像是結凍一樣
10:47
Wouldn't豈不 it be cool if every一切 time you listened聽了, it could be different不同?
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這不是很棒嗎? 如果每次你聽音樂 都能是不同的
10:51
This morning早上, you're sadder令人悲哀, you want to hear your song歌曲,
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今晨你覺德感傷 你想聽到你的歌
10:54
the same相同 song歌曲, played發揮 sadder令人悲哀 than you did yesterday昨天.
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那同樣的歌 能演奏得較昨天悲傷些
10:56
You want to hear it played發揮 by different不同 musicians音樂家.
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或是你想聽到不同的演奏者
10:58
You want to hear it in different不同 rooms客房 and whatever隨你.
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你想聽到在不同的室內演出
11:01
We've我們已經 seen看到 all these "Star Treks苦旅," and they're all holodeck全息甲板 episodes發作 as well.
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我們都看了星際爭霸戰 他們也就是利用虛擬場景
11:03
Every一切 time I listen to that, I get goose bumps顛簸.
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每次我聽到這些音樂 我就起雞皮疙瘩
11:06
It's so amazing驚人, it's so exciting扣人心弦.
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這麼驚人 這麼另人興奮
11:09
Every一切 time I listen to that recording記錄 it's like, "Oh my God,
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每次我聽到這些音樂 就像是 天啊
11:11
I can't believe I'm in the same相同 room房間. I can't believe this is happening事件."
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我不敢相信 居然同在一間室內 我無法相信聽到的
11:13
It's a way better experience經驗
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這是一更高層次的體驗
11:15
than whatever隨你 you're used to listening to, in whatever隨你 form形成.
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相較之前我們曾聽過的任何形式
11:17
And lastly最後, I will wrap up with one minute分鐘 of Art藝術 Tatum塔特姆.
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最後 我想以一分鐘的 Art Tatum 演奏做結束
11:22
So I've really overshot打撈 my budget預算 here.
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所以 會超過演講時間的
11:24
We made製作 a new recording記錄 of him
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我們為他做了新的錄製
11:27
playing播放 in the Shrine神社 Auditorium禮堂 in September九月.
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是九月在 Shrine 演奏廳錄製
11:30
It was a concert音樂會 he recorded記錄 in the Shrine神社 Auditorium禮堂 in 1949.
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這原本是1949年Shrine 演奏廳的現場演出
11:34
And I've got to tell you, we have this lab實驗室
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我必須指出 我們有個實驗室
11:36
where we build建立 and measure測量 everything, back in Raleigh羅利, North Carolina卡羅來納州,
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位於北卡的Raleigh 可以建構與測量所有項目
11:39
and we flew out to Los洛杉磯 Angeles洛杉磯.
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我們也飛來洛杉磯
11:42
And as the president主席 of the company公司,
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身為公司的總經理
11:44
I didn't feel real真實 comfortable自在 about where we were.
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我並不覺得十分自在
11:47
That's a real真實 uncomfortable不舒服 feeling感覺,
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這是個緊張的時候
11:49
when all the equipment's設備的 come out and a whole整個 Sony索尼 team球隊,
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當所有設備以及SONY團隊出現
11:51
and people are going to be sitting坐在 there in the audience聽眾.
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加上人們一一入座
11:53
And we put the piano鋼琴 on the sweet spot of the stage階段 in the Shrine神社,
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我們將鋼琴放在Shrine台上
11:57
which哪一個 has not changed since以來 1949, still seats 6,000 people.
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是1949年以來皆沒改變的 也坐入6000人
12:01
And on the sweet spot on the stage階段, Tatum塔特姆 starts啟動 playing播放 ...
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就在舞台中央 Tatum 開始彈奏
12:04
and every一切 note注意, every一切 beat擊敗, every一切 slur誹謗, every一切 accent口音, every一切 pedal踏板
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每個音符 每個節拍 每個連音 每個重音 每個踏板
12:10
was perfect完善, because he played發揮 it for that room房間 on that day.
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都是完美 因為他過去在那如何演出
12:14
And we captured捕獲 all that data數據 all over again.
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都被我們用數據分析捕捉到
12:16
And I want you to hear that right now.
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我希望你們現在也能聽見
12:18
And fortunately幸好, it's right in here.
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就在這裡了
12:20
This is an encore安可 he used to do.
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這是他常用的安可曲
12:23
It's one minute分鐘 long.
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只有一分鐘長
12:25
It's an Irish愛爾蘭的 jig夾具, and I want you to hear his humor幽默.
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是個愛爾蘭節奏 我希望你聽到他的幽默
12:27
(Music音樂)
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(鋼琴聲)
13:23
(Applause掌聲)
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(熱烈掌聲)
13:24
And that's just what the live生活 audience聽眾 did.
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這也正是現場觀眾的反應
13:27
(Applause掌聲)
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(掌聲)
13:29
So thank you very much, Michael邁克爾, thank you for the opportunity機會.
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謝謝大家 Michael, 謝謝這個機會
Translated by K. C. Peng
Reviewed by Leonard Lin

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ABOUT THE SPEAKER
John Q. Walker - Musician and inventor
Software entrepreneur John Q. Walker uses computers to bring piano legends back to life -- digitally reconstructing their performances from audio tracks and playing them on real instruments, live.

Why you should listen

Glenn Gould, Thelonious Monk, Art Tatum: legends of live piano performance lost to time. But John Q. Walker asks us to imagine hearing those great, departed musicians play again today, just as they would in person. Such is the promise of Walker's company, Zenph Studios, which builds technology to re-create live music performances. Piano tracks are converted into precise keystrokes and pedal motions -- then played back on computer-controlled grand pianos.

Before founding Zenph in 2002, Walker was a leading developer of VoIP, and was influential in the creation of the IEEE 802 local-area network (LAN) and the 802.11 wireless LAN (“Wi-Fi”) standards. He is himself a devoted pianist.

More profile about the speaker
John Q. Walker | Speaker | TED.com