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Brand Relevance: Making Competitors Irrelevant - always yours

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CREATING BARRIERS 271<br />

can have the accompanist ’ s role recorded so it will be available<br />

for practice sessions with adjustable tempo — no longer does<br />

practice require a live accompanist.<br />

A teacher can also benefit from the record and playback<br />

feature, especially with the slow - down option. Replaying student<br />

efforts can be used to demonstrate technique or to help display<br />

errors or deficiencies in play. A link to background music can<br />

serve to make scale drills more useful and enjoyable for the student.<br />

Further, practice with one hand can be more meaningful if<br />

the music from the other hand is being played by the Disklavier.<br />

A record of a student ’ s early efforts can provide a baseline against<br />

which to demonstrate future improvement. Also, the most recent<br />

models allow users to connect two pianos in different locations.<br />

A teacher on one end and a student at the other can see and<br />

hear each other play. As a result, it becomes feasible for top<br />

artists to remotely teach students around the world. Further,<br />

piano competitions are held featuring contestants playing on<br />

Disklaviers in remote locations.<br />

Like the original player piano, the Disklavier was based on<br />

dozens of innovations over decades and would not have been<br />

possible without advances in computers and related equipment.<br />

Timing was important, but so were instinct and commitment.<br />

Researchers at Japan ’ s University of Okayama developed a<br />

rough prototype in 1979. Yamaha saw the potential and became<br />

fi rst its partner and soon thereafter the developer of the concept.<br />

There were, in addition to technical issues, the fact that some<br />

important intellectual property (IP) rights protected by patents<br />

were owned by other fi rms. Terry Lewis of Yamaha Corporation<br />

of America impressed with the concept, decided in 1986 to<br />

commit to it even without support from others at Yamaha. In a<br />

critical step, he acquired some of the key IP rights from a company<br />

that had no plans or ability to exploit the patents they<br />

held. Later he hired an inventor named Wayne Stahnke in<br />

order to obtain access to the rest of the needed rights and to get

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