Overall, this scenario suggests an increasing attention to the design of musical instrument sound databases, motivated by the concrete possibility for their content to be reproduced in instrumental settings including not only loudspeakers and headphones, but also haptic and robotic devices. Furthermore, initiatives aiming at systematizing the creation of these databases have recently appeared, such as RepoVizz, a framework for storing, browsing, and visualizing synchronous multimodal data. Recent examples include the “multimodal string quartet performance dataset” (QUARTET), the “University of Rochester multimodal music performance dataset” (URMP), the “database for emotion analysis using physiological signals” (DEAP), the “TU-Note violin sample library”. In this scenario, the availability of multimodal databases combining and synchronizing different streams of information (audio, video, kinematic data of the instrument and performer in action, physiological signals, interactions among musicians etc.) is increasingly recognized as an essential asset for studying music performance. Through this process, richer or even unconventional feedback cues can be conveyed to the performer, with the aim of increasing engagement, and hence the initial acceptability and subsequent playability of the new instrument. Once integrated with traditional audio microphone and loudspeaker systems, touch sensors and actuators can be employed first to investigate the joint role of the auditory and somatosensory modality in the perception of a musical instrument, and then to realize novel musical interfaces and instruments building on the lessons of the previous investigation. Using these devices, complex experimental settings can be realized to measure and deliver multisensory information in a musical instrument, often as a result of a real-time analysis and synthesis process taking place during the performance. This increased interest is partly due to the increased availability of accurate yet affordable sensors and actuators, capable of recording touch gestures and rendering vibrations and force, respectively. The library has potential to support experimental research about the psycho-physical, cognitive and experiential effects caused by the keyboard’s multimodal feedback in musicians and other users, or, outside the laboratory, to enable an immersive personal piano performance. Finally, the paper describes how the samples can be used to correctly reproduce binaural sound and keyboard vibrations. Then, for sound and vibration analysis, it is shown how physical quantities such as sound intensity and vibration acceleration can be inferred from the recorded samples. This paper documents the sample acquisition procedure, with related calibration data. All samples were recorded using calibrated measurement equipment on two Yamaha Disklavier pianos, one grand and one upright model. A library of piano samples composed of binaural recordings and keyboard vibrations has been built, with the aim of sharing accurate data that in recent years have successfully advanced the knowledge on several aspects about the musical keyboard and its multimodal feedback to the performer.

Data and model coupling pianoteq