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

乔治·沃克对伟大演奏的重新创作

Filmed:
372,416 views

设想在今天再次听到那些伟大的,已经逝去的钢琴家们的演奏,就像他们在亲自演奏一样.乔治·沃克展示了如何把录音分解成准确的键盘弹奏和脚踏板的动作,然后重新在电脑控制的大钢琴上演奏出来.
- 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梦想 of listeners听众.
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我们中百分之九十九的人都有做听众的梦想.
00:20
Not being存在 the musicians音乐家 -- the listeners听众, right?
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不是去做音乐家,而是做听众,对吧?
00:22
And we crave渴望 one thing,
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而且我们渴望一件事情,
00:24
even though虽然 we kind of don't know it all the time.
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尽管我们可能并不总会意识到这点.
00:26
We crave渴望 to be in the room房间 with the musician音乐家
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我们渴望和音乐家在一个房间里
00:31
the day it was recorded记录, the day it was played发挥.
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在录音的那天,在演奏的那天.
00:33
And we go to live生活 concerts音乐会, and we get that as much as we can.
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然后我们去听现场音乐会,去尽可能地享受我们在现场所能感受的一切.
00:36
But then we listen to the other 99 percent百分 of our stuff东东 recorded记录.
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但是我们听到的另外百分之九十九的东西都是录音.
00:39
And it turns out the further进一步 back you go in history历史,
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而结果你越是探寻历史久远的,
00:42
the little rougher粗糙 it sounds声音.
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声音听起来就越有点儿粗糙.
00:44
And so we said, there's a solution to this.
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所以我们说,应该想个办法解决它.
00:48
Let's separate分离 the performance性能, as a thing,
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让我们把演奏作为一个事情分开,
00:52
out from the recording记录, which哪一个 was how it was made制作.
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以区别于录音,后者是制作的结果.
00:55
You know, the thing with microphones麦克风 in the room房间 and all that day.
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你们知道,在那个年代,屋里都是麦克风.
00:58
But the performance性能 itself本身 was how the musicians音乐家 worked工作 their fingers手指,
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但演奏本事在于音乐家如何活动他们的手指,
01:01
and what instruments仪器 they were using运用.
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以及他们使用的是什么乐器.
01:03
And it's the data数据 hidden inside the recording记录.
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需要的是那些隐藏在录音背后的数据.
01:08
In order订购 to do this, it's a lot of hardware硬件 and software软件
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为了做到这点,需要有很多的硬件和软件
01:11
that runs运行 in a very high resolution解析度.
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需要有很高的分辨率.
01:13
And Yamaha雅马哈 makes品牌 an incredible难以置信 thing called the Disklavier的Disklavier Pro
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所以雅马哈做了一件不可思议的东西叫做Disklavier Pro,
01:17
that looks容貌 like a nice不错 grand盛大 piano钢琴 there.
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看起来像摆在那儿的漂亮的大钢琴 --
01:19
And you probably大概 didn't realize实现 it's going to do all these things --
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而且你可能都没意识到它可以完成所有这些事情 --
01:21
but full充分 of solenoids螺线管, and fiber纤维 optics光学, and computers电脑
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但它布满了螺线管,光纤,和计算机
01:24
and all this kind of stuff东东. The highest最高 resolution解析度 out of Japan日本.
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和所有这类东西 -- 它拥有在日本最高的分辨率.
01:27
And this just didn't work until直到 we could cross交叉 this line线 that says high-definition高清.
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但这些都不管用,直道我们越过高清晰度这条线.
01:31
And we were able能够 to cross交叉 this line线, called the uncanny神秘的 valley,
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而我们能够越过这条线,把它称作不可逾越的峡谷,
01:34
in terms条款 of -- artificial人造 intelligence情报 terms条款.
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按照人工智能的说法.
01:39
We have a process处理 where we, you know,
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我们有一套程序,你们知道,
01:41
kind of put it into the computer电脑 and digitize数字化 it, and then a whole整个 lot of analysis分析.
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可以把它输入电脑,数字化,然后进行一系列分析.
01:44
And we look at every一切 single note注意,
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然后我们看每一个音符,
01:46
and all the attributes属性 of those notes笔记:
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以及所有这些音符的特征:
01:48
how hard they were struck来袭, and how they were held保持 down,
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用了多大劲儿弹奏,如何被控制,
01:50
and how you move移动 the fingers手指.
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还包括你如何移动手指.
01:52
So we had to develop发展 a whole整个 new science科学 of how you move移动 your fingers手指.
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所以我们发展出一整套你是如何移动手指的全新科学.
01:54
And, you know, it's a thing your piano钢琴 teacher老师 teaches you,
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而且,你们知道,钢琴老师教过你这些,
01:57
but we never had a science科学 behind背后 these kinds of things.
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但我们还从来没有一门科学研究背后的这些事情.
02:00
I'm going to start开始 with Glenn格伦 Gould古尔德.
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我要从格伦·古尔德开始.
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25年前去世,75年前出生.
02:06
Was a beloved心爱 pianist钢琴家, maybe the great cult礼拜 pianist钢琴家 of the twentieth第二十 century世纪.
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是备受喜爱的钢琴家,也许是二十世纪最受崇拜的钢琴家.
02:10
He just got tired of being存在 in front面前 of an audience听众,
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他就是厌倦了出现在听众面前,
02:12
and felt like -- a performing执行 monkey was, in fact事实, his term术语.
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而且觉得像是"一只演奏的猴子,"这实际是他的原话.
02:14
So he stepped加强 back, and did nothing but the crafting各具特色 of his work.
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所以他退居幕后,不干其他事,专心磨练演奏技巧.
02:18
And Gould's古尔德 specialty专业 was playing播放 Bach过独身生活.
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古尔德最为擅长演奏巴赫.
02:20
His maybe most famous著名 recording记录
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也许他最有名的录音
02:22
was something called "The Goldberg戈德堡 Variations变化."
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是"戈德堡变奏曲."
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Bach过独身生活 only wrote themes主题 and variations变化 one time.
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巴赫曾经只写过主题和变奏曲.
02:27
He wrote some early pieces,
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他写过一些早期作品,
02:29
but late晚了 in his life, in his mature成熟 period,
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但他的晚年,在他的成熟时期,
02:31
he said, "Here's这里的 a theme主题 -- 30 variations变化."
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他说,"这是一个主题 -- 30种变奏."
02:34
In fact事实, the theme主题 isn't even the melody旋律, it's the bass低音 line线.
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实际上这个主题甚至不是旋律,而是基本音.
02:37
And Gould古尔德 recorded记录 it in two major重大的 recordings录音 that you may可能 know about,
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于是古尔德录制了两个版本的唱片,这你们可能知道,
02:42
one in mono, and one in stereo立体声.
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一个是未经处理的独奏,一个是立体声.
02:44
And the one in mono, by the way, he used the pedal踏板,
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顺便说一句,在独奏里,他使用了脚踏板,
02:47
and as he got older旧的, he said, "No, no, wait a minute分钟.
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而当他年纪大些之后,他说,"不,不,等一下."
02:50
I'm going to get very scientific科学 about this, and not use the pedal踏板."
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"我想把它做得更科学而不用脚踏板."
02:53
What I'd like you to hear live生活 is the 1955 version,
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我想让你们在现场听到的是1955年版,
02:57
and we'll play the first couple一对 pieces of it.
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我们将放它的前几首.
02:59
Glenn格伦 Gould古尔德, 1955.
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格伦·古尔德, 1955年.
03:02
(Music音乐)
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(音乐)
05:35
How about that?
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怎么样?
05:37
(Applause掌声)
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(掌声)
05:41
So let me tell you a little bit how this was doneDONE.
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那么让我来告诉你这是如何完成的.
05:43
First of all, let me get you to the end结束 step.
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首先,让我告诉你最后一步.
05:45
This is -- we have a fairly相当 complex复杂 process处理
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那就是 -- 我们有一个相当复杂的过程
05:47
that, you know, software软件 and musicians音乐家 and so on,
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你们知道,这些软件,音乐家等等
05:50
but when we're all doneDONE, we know that the ear is the final最后 arbiter仲裁者.
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但我们全部做完的时候,我们知道,耳朵才是最终的裁判.
05:55
We can play the original原版的 in one ear, and a new recording记录 in the other.
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我们可以一个耳朵听原版,另一个耳朵听新版录音.
05:58
So I'm going to do this for you right now, what you just heard听说.
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所以我现在要为你们做的,就是你们刚才所听到的.
06:01
And in the right speaker扬声器 is going to be the original原版的 recording记录,
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在右边的喇叭传出的是原版
06:03
and the left speaker扬声器 is going to be the new recording记录,
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左边的喇叭传出的是新版 --
06:06
actually其实 of an instrument仪器 just like that one,
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实际上就像那架大钢琴一样的乐器,
06:09
and I'm going to play them together一起 at the same相同 time.
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我将同时播放这两个版本.
06:11
(Music音乐)
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(音乐)
06:17
That's the original原版的. [Unclear不清楚] That's the two together一起.
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这是原版.
06:19
(Music音乐)
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06:55
Before "Jurassic侏罗纪 Park公园,"
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在"侏罗纪公园"之前,
06:57
there was no science科学 for how skin皮肤 hung鸿 off of muscle肌肉, right?
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没有一门科学是研究皮肤是怎样悬挂在肌肉上的,对吧?
07:03
So, in the video视频 world世界,
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所以在影像世界里,
07:04
we've我们已经 been able能够 to invent发明, in our lifetimes寿命, natural自然 behavior行为.
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我们可能在有生之年去创造一些自然行为.
07:07
And this is kind of another另一个 example
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而这也算是另一个例子
07:09
of putting a science科学 behind背后 natural自然 behavior行为.
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在自然行为背后建立一门科学.
07:12
And then you heard听说 the original原版的.
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然后你将听到原版音乐.
07:14
Ultimately最终,, I started开始 with the experience经验.
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最终,我开始进行体验.
07:16
And the experience经验 is: I want to be in the room房间 and hear the musicians音乐家.
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这个体验就是:我想在这间屋子里,听到音乐家的演奏.
07:20
Lots of you can afford给予 to buy购买 one of these.
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你们中很多人能买得起这样一架"大钢琴."
07:22
But, if not, there is now high-definition高清 surround环绕 sound声音.
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但如果买不起,现在有高清晰度环绕立体声.
07:28
And I got to tell you, if you haven't没有 heard听说 high-definition高清 surround环绕,
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而且我要告诉你,如果你还没听过高清晰环绕立体声,
07:31
go down to your audio音频 dealer零售商, your audiophile发烧友 dealer零售商.
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去找你们的音响经销商,爱好唱片的经销商.
07:33
It's so involving涉及 compared相比 to regular定期 stereo立体声.
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相比普通的立体声,会感觉非常沉醉.
07:37
But if you don't have that, maybe you can listen on your headphones头戴耳机.
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但如果你没有那种立体声,也许你可以通过你的耳机听到.
07:39
And so on the same相同 disk磁盘 we have five recordings录音 --
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同一张唱片我们有五份录音 --
07:41
Sony索尼 has five recordings录音.
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索尼有五份录音.
07:43
And you could listen in headphones头戴耳机
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因此你可以从耳机里听到
07:45
with this thing called binaural双耳 recording记录.
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通过这个叫双耳式录音的东西.
07:48
And it's a dummy head that sits坐镇 in front面前 of the instrument仪器,
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这是一个头的模型,它坐在乐器前,
07:52
and it's got microphones麦克风 where the ears耳朵 are.
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在耳朵的地方装有麦克风.
07:56
And when you put on headphones头戴耳机, and you listen to this,
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当你戴上耳机听它的时候,
07:58
you're inside of Glenn格伦 Gould's古尔德 body身体.
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你就好像进入了格伦·古尔德的身体.
08:00
And it is a chuckle暗笑 until直到, you know, the musicians音乐家,
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这像是个笑话,但直到,你们知道,那些音乐家,
08:03
who are musicians音乐家 who play the piano钢琴, listen to this, say,
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那些弹钢琴的音乐家们听到这个,他们说,
08:05
"I can't believe it! It's just what it's like to play the piano钢琴."
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"我简直不敢相信!就好像是在弹钢琴."
08:07
Except now you're inside Glenn格伦 Gould's古尔德 body身体 playing播放 the piano钢琴,
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只是现在你是在格伦·格伦古尔德的身体里弹钢琴,
08:09
and it feels感觉 like your fingers手指 are making制造 the decisions决定
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而且感觉像是你的手指在做决定
08:11
and moving移动 through通过 the whole整个 process处理.
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在移动中完成整个过程.
08:13
It's a game游戏 changer.
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这是一个游戏的改变者.
08:15
Here's这里的 now something we know in spectacular壮观 quality质量.
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这就是现在我们所知的达到惊人品质的东西.
08:17
The whole整个 process处理 is very sensitive敏感 to temperature温度 and humidity湿度.
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整个过程对温度和湿度是非常敏感的.
08:21
What you heard听说 today今天 was not perfect完善.
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今天你们所听到的还不是最完美的.
08:23
It's an amalgam汞合金 of wood, and cast iron, and felt,
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这是由木头,铸铁和毡制品制成的混合物,
08:27
and steel strings字符串, and all these,
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还有钢丝以及所有这些,
08:29
and they're all amazingly令人惊讶 sensitive敏感 to temperature温度 and humidity湿度.
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而且他们都对温度和湿度出奇地敏感.
08:32
So when you go into the recording记录 session会议,
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所以当你在录音期间,
08:35
you get to stop after every一切 piece and rebuild重建 the piano钢琴 if you need to.
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如果有必要,你要在每首曲子之后停下来重建钢琴.
08:39
There's the whole整个 action行动 there, sitting坐在, kind of, on the side,
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整个行动等在一边,
08:41
and the dummy head and our recording记录 engineers工程师
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那个头部模型和我们的录音师们
08:43
standing常设 around while we rebuild重建 the piano钢琴.
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站在一旁等我们重建钢琴.
08:45
Without没有 putting dates日期 next下一个 to these things,
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没有把日期标在这些东西上,
08:47
step-by-step一步步 music音乐 will be turned转身 into data数据,
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一步一步地,音乐就变成了数据,
08:50
like every一切 field领域 that's occurred发生 in the past过去 35 or 40 years年份.
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就像在过去35到40年间每个领域所发生的事情一样.
08:54
Audio音频 has come very late晚了 to this game游戏 --
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声音很晚才进入这个领域 --
08:57
I'm not talking about digitizing数字化, and bits, and re-mastering重制.
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我不是说数字化, 字节,重新灌录之类 --
09:00
I'm talking about turn it into the data数据 that it was made制作 from,
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我是说把它变成音乐来源的数据,
09:03
which哪一个 is how it was performed执行.
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音乐也是这样被演奏的.
09:05
And audio音频 came来了 very late晚了 because our ears耳朵 are so hard to fool傻子 --
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声音很晚才被数据化是因为我们的耳朵太难被欺骗了--
09:08
they're high-resolution高分辨率, and they're wired有线 straight直行 to our emotions情绪,
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它们有很高的分辨力,直接与我们的情感相连,
09:11
and you can't trick them very easily容易.
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所以你不能轻易地欺骗它们.
09:13
Your eyes眼睛 are pretty漂亮 happy快乐 with some color颜色 and movement运动, you know.
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眼睛倒是很乐于看到一些颜色和运动
09:16
All right, there's this episode插曲 of "Star Trek跋涉."
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好吧,比如有一集"星际旅行."
09:19
(Laughter笑声)
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(笑声)
09:22
I get it -- it was all just laid铺设 in for me yesterday昨天 there.
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我明白了 -- 这些是昨天才为我摆在这里的.
09:24
The episode插曲 of "Star Trek跋涉" for me was James詹姆士 Daly达利 played发挥 Methuselah玛土撒拉 --
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对我而言,这集"星际旅行"是由詹姆斯·达利扮演玛士撒拉 --
09:28
remember记得 this one?
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记得这集么?
09:30
And at some point he's dancing跳舞 with his --
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有一段是他跳舞,带着他的--
09:33
and I won't惯于 ruin废墟 the episode插曲 for you, from 1967.
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我不会给你毁了这集,是1967年的.
09:35
Right, do you know where I'm going?
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是的,你们知道我接下来要说什么?
09:37
And NimoyNimoy, I'm sorry, Spock斯波克 sits坐镇 down at the piano钢琴,
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尼莫伊,不好意思,是斯波克坐在钢琴前,
09:39
and he starts启动 playing播放 this Brahms勃拉姆斯 waltz华尔兹舞, and they all dance舞蹈 to it.
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他开始弹奏勃拉姆斯的华尔兹,他们都随音乐起舞.
09:43
And then Spock斯波克 turns round回合, he goes,
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然后斯波克转身说,
09:45
"James詹姆士, I know all of the Brahms勃拉姆斯 waltzes圆舞曲,
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"詹姆斯,我知道勃拉姆斯的所有华尔兹,
09:50
and I don't believe this is one of them in the category类别."
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我不认为这首是其中之一."
09:54
That's where I'm at.
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这正是我要说的.
09:56
I want to hear the waltzes圆舞曲 Brahms勃拉姆斯 didn't write.
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我想听勃拉姆斯没有写过的华尔兹.
10:00
I want to hear the pieces that Horowitz霍洛维茨 didn't play.
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我想听霍罗威茨没有演奏过的曲子.
10:04
But I believe we're on a path路径 now, when we get to data数据,
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但我相信当我们有了数据,我们就有了出路
10:09
that we can distill蒸馏 styles款式, and templates模板, and formulas公式, and all these kinds of things,
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我们可以提取风格,模式,公式和所有这些东西 --
10:13
again, that you've seen看到 happen发生 in the computer电脑 graphics图像 world世界.
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再一次地,就像你在电脑图像世界里看到的.
10:16
It's now coming未来 in this world世界.
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现在它真地来到了这个世界上.
10:18
The transition过渡 will be this one.
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转变就是这一点.
10:20
It says right now, we think music音乐 is notes笔记 and how they're played发挥.
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就是说现在我们认为音乐是一堆音符以及如何演奏这些音符.
10:23
And I believe this is coming未来.
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我认为这即将成为事实.
10:25
Because what you've just heard听说 was a computer电脑 playing播放 data数据 --
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因为你们刚才听到的是一台电脑在演奏数据 --
10:30
no Glenn格伦 Gould古尔德 in the room房间.
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而不是格伦·古尔德在这个屋里.
10:32
But yet然而, it was human人的.
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但它又是很人性的.
10:34
And I believe you'll你会 get to the next下一个 step, the real真实 dream梦想 of listeners听众.
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而且我相信你们会达到下一个目标,就是成为聆听者的梦想.
10:37
Every一切 time you listen to a recording记录 today今天,
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每次你听到一张今天的录音,
10:40
every一切 time you take out your iPodiPod的 and whatever随你,
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每次你掏出你的iPod或者无论什么,
10:42
every一切 time you listen to it, it's the same相同 thing -- it's frozen冻结的.
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每次你听它,总是一样的 -- 被定格了.
10:47
Wouldn't岂不 it be cool if every一切 time you listened听了, it could be different不同?
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如果每次听的时候,都能听到不一样的效果,会不会很爽呢?
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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比如今天早上你比较伤心,你仍然想听你的音乐,
10:54
the same相同 song歌曲, played发挥 sadder令人悲哀 than you did yesterday昨天.
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同样的曲子,但比昨天弹奏得更伤感.
10:56
You want to hear it played发挥 by different不同 musicians音乐家.
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你想听到不同音乐家对同一曲目的演奏.
10:58
You want to hear it in different不同 rooms客房 and whatever随你.
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你想在不同的房间里听或无论什么条件.
11:01
We've我们已经 seen看到 all these "Star Treks苦旅," and they're all holodeck全息甲板 episodes发作 as well.
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我们已经看过一系列"星际旅行,"这些全是在仿真空间中进行的.
11:03
Every一切 time I listen to that, I get goose bumps颠簸.
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每次我听到那个,我都起鸡皮疙瘩.
11:06
It's so amazing惊人, it's so exciting扣人心弦.
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这太令人惊异了,太令人兴奋了.
11:09
Every一切 time I listen to that recording记录 it's like, "Oh my God,
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每次我听那个录音,就像是,哦我的天啊,
11:11
I can't believe I'm in the same相同 room房间. I can't believe this is happening事件."
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我简直不能相信我是在同一间房里,我不敢相信这确实能发生.
11:13
It's a way better experience经验
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这是比以往好得多的体验
11:15
than whatever随你 you're used to listening to, in whatever随你 form形成.
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好于任何你通常听的,任何形式的东西.
11:17
And lastly最后, I will wrap up with one minute分钟 of Art艺术 Tatum塔特姆.
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最后,我用一分钟的时间介绍亚瑟·泰特姆作为结束.
11:22
So I've really overshot打捞 my budget预算 here.
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我恐怕真得要超出我预计的演讲时间了.
11:24
We made制作 a new recording记录 of him
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我们为他做了一张新唱片
11:27
playing播放 in the Shrine神社 Auditorium礼堂 in September九月.
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是九月份在Shrine音乐厅(洛杉矶)演奏的.
11:30
It was a concert音乐会 he recorded记录 in the Shrine神社 Auditorium礼堂 in 1949.
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这是1949年他在Shrine音乐厅录制的音乐会.
11:34
And I've got to tell you, we have this lab实验室
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我必须告诉你,我们有这样一个实验室
11:36
where we build建立 and measure测量 everything, back in Raleigh罗利, North Carolina卡罗来纳州,
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在北卡罗来那州的罗利,我们可以建造和测验一切,
11:39
and we flew out to Los洛杉矶 Angeles洛杉矶.
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然后我们飞到洛杉矶.
11:42
And as the president主席 of the company公司,
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作为公司总裁,
11:44
I didn't feel real真实 comfortable自在 about where we were.
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我对我们曾经待的地方感觉并不特别舒服.
11:47
That's a real真实 uncomfortable不舒服 feeling感觉,
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那是一种非常不舒服的感觉
11:49
when all the equipment's设备的 come out and a whole整个 Sony索尼 team球队,
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当所有器械都被搬出来,整个索尼团队,
11:51
and people are going to be sitting坐在 there in the audience听众.
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和大家要做到听众席里.
11:53
And we put the piano钢琴 on the sweet spot of the stage阶段 in the Shrine神社,
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我们把钢琴放到Shrine音乐厅舞台上和原来一样的位置 --
11:57
which哪一个 has not changed since以来 1949, still seats 6,000 people.
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这个音乐厅自1949年来就没有变过,一直能容纳六千人 --
12:01
And on the sweet spot on the stage阶段, Tatum塔特姆 starts启动 playing播放 ...
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在那个位置上,泰特姆开始了他的演奏...
12:04
and every一切 note注意, every一切 beat击败, every一切 slur诽谤, every一切 accent口音, every一切 pedal踏板
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每个音符,每个节拍,每个连音,每个重音,每次使用脚踏盘
12:10
was perfect完善, because he played发挥 it for that room房间 on that day.
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都是完美的,因为他曾经就在同一时间同一地点演奏过.
12:14
And we captured捕获 all that data数据 all over again.
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我们捕捉了全部数据并得以再现.
12:16
And I want you to hear that right now.
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我想让你们现在听听.
12:18
And fortunately幸好, it's right in here.
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幸运地是,它就在这里 --
12:20
This is an encore安可 he used to do.
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这是他曾经的返场曲目.
12:23
It's one minute分钟 long.
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时长一分钟.
12:25
It's an Irish爱尔兰的 jig夹具, and I want you to hear his humor幽默.
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它是一种爱尔兰快步舞曲,我想让你听到他的幽默.
12:27
(Music音乐)
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(音乐)
13:23
(Applause掌声)
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(掌声)
13:24
And that's just what the live生活 audience听众 did.
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这正是现场听众们的反应.
13:27
(Applause掌声)
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(掌声)
13:29
So thank you very much, Michael迈克尔, thank you for the opportunity机会.
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非常感谢,麦克,谢谢你提供的机会.
Translated by Yidi Wu
Reviewed by Amy Zerotus

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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