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Piano Music

Piano Music

Piano Music 70 Episodes Aug 22, 2026

This podcast features original piano music composed for relaxation and inspiration. Each episode presents soothing piano pieces designed to calm the mind and uplift the soul. The music is created by the author, Piano Music, and is suitable for background listening or focused enjoyment.

Episodes

Recording 90
Recording 90 Aug 22, 2026 I got a 3D printer so I can replace the angle-iron ends with printed mounts that sit in the fallboard supports. The metal worked, but I never liked that hardware that close to the piano, even with felt tape. I also added a second LED strip. Fitting and reprinting took longer than I expected. The bar was out of commission for the first two morning streams. When it is on, it adds a really cool dynam
Recording 89
Recording 89 Aug 15, 2026 First working LED rail. Removable aluminum bar in the existing fallboard supports — nothing glued to the finish or the keys. A Raspberry Pi reads the MIDI and drives per-key lights so the overhead camera can show more of the shape in the playing. First version, not the last. Next up: printed clips and baffles, and a cleaner power path for a second strip.
Recording 88
Recording 88 Aug 8, 2026 I spent this episode fighting Piano VFX drift. One MIDI timing issue is fixed, but a longer render still walks off the keys. The reliable fix is splitting the VFX layer by song in Final Cut and using Retime on each section. That adds another two or three hours. New effects this week, less flame, more around the notes. After Disklavier listen tests I also limited release-velocity edits to tight rep
Recording 87
Recording 87 Aug 1, 2026 Seven pieces from May 28 through June 2. New camera: much closer to true overhead, more keyboard in the frame, the inside of the Yamaha C7 visible. I had to pull the keyboard cover. The front lip hid the key tops from that angle, especially with falling notes. Only my hands are in the shot now.
Recording 86
Recording 86 Jul 25, 2026 Seven pieces from May 25–28. First episode with Piano VFX all the way into the finished video: real overhead piano underneath, falling notes composited in Final Cut so they follow what I actually played. Dark background, keyboard mask, and edges took some work. I also moved the production desk off a single-vendor app so I can switch models without rebuilding the workflow.
Recording 85
Recording 85 Jul 18, 2026 Six pieces from May 21 and May 25. I took 56 of my own past edits and had the production model try the first timing pass instead of Smart Tempo. Through the middle of a song it now matches my hand edits almost note for note. It still misses the big feel changes, so it’s on the shelf. It keeps learning from the episodes I still edit myself.
Recording 84
Recording 84 Jul 11, 2026 Five pieces from May 19–20. I recorded this back-to-back with the previous episode in one sitting so two weeks would already be in the queue.
Recording 83
Recording 83 Jul 4, 2026 Five pieces from May 15–19. Recorded as part of working ahead. No new camera or MIDI change this week.
Recording 82
Recording 82 Jun 27, 2026 Six pieces from May 13–18. A quieter production week. Same compile: morning streams cleaned up into one listen.
Recording 81
Recording 81 Jun 20, 2026 Six pieces from May 11–13. The change you can hear is the sustain pedal. When timing gets stretched, the tiny gap where the pedal lifts can collapse and the next chord lands dry. That cleanup is automatic now. Nearly four hundred late lifts on this episode, with the deliberate pauses left alone.
Recording 80
Recording 80 Jun 13, 2026 Six pieces from May 6–8. The real ship this week is chapters on everything. Streams get song names. Spontaneous pieces are labeled Selah in the key they live in. Podcast chapters point back to the exact morning they came from. I rolled that through the back catalog too, so the rough take and the cleaned take stay linked.
Recording 79
Recording 79 Jun 6, 2026 Seven pieces this week, from four mornings (April 30 through May 5). I recorded it a week early so I can keep a couple of episodes in the queue. For the live-room clips I switched from glasses-only POV to a split view with a locked camera. The head motion was hard to watch for more than a few seconds.

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