I'm not reading this as saying that pianists can manipulate timbre after the hammer is released, only that pianists can intentionally manipulate timbre with very fine motor control while playing, and listeners of all levels can hear the intended timbre.
Which is trivial, as you say. (The examples of bright/dark aren't encouragingly subtle.)
The article is very poorly worded and ambiguous.
It's not even clear if they were measuring acceleration at escapement directly at the hammer, or somehow inferring it from the key velocity.
Which is trivial, as you say. (The examples of bright/dark aren't encouragingly subtle.)
The article is very poorly worded and ambiguous.
It's not even clear if they were measuring acceleration at escapement directly at the hammer, or somehow inferring it from the key velocity.