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Project<\/strong><\/p>\n\n\n\n Amplifying the piano to investigate potential advantages.<\/p>\n\n\n\n How<\/strong><\/p>\n\n\n\n The piano was amplified using seven microphones: three inside the piano and four outside. The three inside microphones were intended to amplify timbral qualities not normally audible to the audience, such as those close to the strings, providing a more detailed sound, and those near the mechanics to make them audible. The outside microphones were used for conventional instrument amplification. Each microphone had fixed digital effects, primarily compression and delay, and the volume of each was controlled live. Performances were conducted by student pairs, with one student performing the piece live and the other managing the live mixing.<\/p>\n\n\n\n Intentions<\/strong><\/p>\n\n\n\n a. We anticipated that the audience, accustomed to hearing amplified piano recordings, would find the amplified sound more satisfying.<\/p>\n\n\n\n b. The project aimed to educate students about amplification and recording technologies, increasing their awareness of the possibilities.<\/p>\n\n\n\n c. Exploration of interpretive possibilities in live amplification.<\/p>\n\n\n\n Results<\/strong><\/p>\n\n\n\n 1. It was much easier to create both a forceful sound and a very delicate piano sound.<\/p>\n\n\n\n 2. The electronics made the sound more immersive.<\/p>\n\n\n\n 3. The sound picture contained more details.<\/p>\n\n\n\n 4. Investigations into when the amplification could be identified or not, and how it affected the experience.<\/p>\n\n\n\n Examples<\/strong><\/p>\n\n\n\n