Mechanical Actions, Keys & Ballistic Instrument Theory
This research direction studies how mechanical actions and key systems shape the behavior of ballistic musical instruments. Kaduk approaches the action not as a passive transmission mechanism, but as an active system that determines control, efficiency, and expressive potential. The samples below highlight points where empirical analysis forced fundamental changes in assumptions about action design and key mechanics.
Active Piano Action × High-Resolution Sensing
Respons was built as an experimental piano-family interface with an active action: a sensing–actuation unit per key, designed to capture and reproduce ballistic micro-dynamics without velocity smoothing. This platform allowed on-the-fly control of mechanical response and made keyboard geometry itself variable (layout/size) as a testable design parameter. By combining active mechanics with psychophysical thresholds (JND), Respons forced a hard conclusion: piano-like musical control cannot be faked by “predictable” surrogate models—sensing, haptics, and geometry must remain physically coherent as one coupled system.
Smooth Control Action re-examined the grand piano action by preserving its ballistic principles while reworking geometry, mass distribution, and spring behavior. Alternative angle chains reduced inertia and resistance, shifting the player’s perception from a sluggish intermediary mechanism to direct hammer control. Maintenance-heavy axle systems were eliminated entirely. The research showed that loss of control in modern actions is not intrinsic to the piano, but a consequence of accumulated mechanical compromises.
