Subject: Re: Intuitive EA Proformance Practice Research
From: Rick (email@example.com)
Date: Thu Oct 13 2005 - 03:16:58 EDT
Controller devices, usually MIDI, lack physical feedback between the
sound the instrument is making and body that's trying to make it.
When a trumpet player shifts across octaves, volume or noise ranges,
the trumpet feeds back into the performer not only through the ears,
but through the inherent and consisitent features of the "interface"
itself. It takes very specific types of effort across the whole body
to do things to the sound. By constricting the air flow by half
valving, you increase the back pressure felt by the diaphram and
Violinists not only hear the tremolo, but they feel the string. The
tension of the string changes according to the place it is on the
fingerboard. The bow transmits the tension of the string (or bridge)
back to the performer. All of these things tie the ear together with
the instrument. The fingers, lips, arms, torso and everything else
control the sound according to the dictates of the ear.
just makes sure your controller can do that. Can't be that hard these days.
On 10/13/05, Ryan Supak <firstname.lastname@example.org> wrote:
> I'd just try to remember that a lot of the most enjoyable interfaces, in
> general, are ones that don't make the mind "shift gears" a lot mid-use, and
> they allow for "emergent strategies" -- in other words, a person can develop
> his/her own way of playing the thing that will work; they're not limited to
> how the designer thought it should be played.
> I can't prove it, but I think there's a connection between simple "rule
> sets" and emergent strategies.
> I've played the "cook up the best interface" game a lot, and in the end I
> wound up with an 88-key piano keyboard. It is highly refined, capable of a
> wide bandwidth of simultaneous control, and it's easy to find your place on
> it by touch alone.
-- ====================== Rick Nance De Montfort University Leicester, UK RickNance.org
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