From emusician.com
"Meanwhile, at the Moog booth, one of the new products on display was the Moog Lap Steel ($2,800). The six-string lap steel has the same circuitry as the Moog Guitar. These instruments are being built on a custom basis only, and currently only four exist, including the one they had at the booth. It offers infinite sustain, controlled sustain, and mute modes, and has a Moog filter built in that can be controlled with a foot pedal. As a steel player myself, my mind was boggling at the sonic possibilities. Connected up to an array of effects pedals, one could make some serious sounds."
I guess mine will be one of the early ones. Surely the first in Canada and perhaps #5 - who knew!
Monday, January 17, 2011
Saturday, January 8, 2011
Touch as Part of Expressiveness
John Morley just posted an interesting thought about the WaveDrum as an example where technology did not serve to dehumanize music in the way that many use quantization and pitch correction.
I agree whole heartedly.
What struck me as quite important was the mention of the connectedness of instrument and player as an important factor. For me the fact that the wavedrum is not a pad but a real drum and highly tactile is quite critical. It also makes for quite a contrast with button or pad based 'drums'.
This is one aspect of the Eigenharp that fails to get a lot of notice; it is a very tactile device.
Say Eigenharp, and you are sure to hear expressiveness in the resulting conversation.
Now it is surely true that the time granularity (2000 samples/sec) and the resolution (1024 levels) is an important and differentiating enabler of expressiveness. However, it is just as important to note that the keys are extremely tactile. The force required and the physical feedback from the keys results in a connection for the player that is, well, sensual. Further, while one can play a run of individual notes, the system as a whole is tweaked so well that running your finger down a course of keys can also sound and feel much like running your finger down a continuous string (it does not matter that, technically that isn't what is happening)
Surely one could build (for example) a pad with that sample rate and bit depth. They probably exist. But this tactile aspect and the instrument/player connection that results is a critical component of enabling expressiveness.
I agree whole heartedly.
What struck me as quite important was the mention of the connectedness of instrument and player as an important factor. For me the fact that the wavedrum is not a pad but a real drum and highly tactile is quite critical. It also makes for quite a contrast with button or pad based 'drums'.
This is one aspect of the Eigenharp that fails to get a lot of notice; it is a very tactile device.
Say Eigenharp, and you are sure to hear expressiveness in the resulting conversation.
Now it is surely true that the time granularity (2000 samples/sec) and the resolution (1024 levels) is an important and differentiating enabler of expressiveness. However, it is just as important to note that the keys are extremely tactile. The force required and the physical feedback from the keys results in a connection for the player that is, well, sensual. Further, while one can play a run of individual notes, the system as a whole is tweaked so well that running your finger down a course of keys can also sound and feel much like running your finger down a continuous string (it does not matter that, technically that isn't what is happening)
Surely one could build (for example) a pad with that sample rate and bit depth. They probably exist. But this tactile aspect and the instrument/player connection that results is a critical component of enabling expressiveness.
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