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<p>Yes, true. So hopefully we will see more paradigm shifts in
controllers. Even if you use the keyboard structure as a familiar
starting point ( like Roli did ) we can see how NOT focusing on
the two switch method of rendering velocity sensitivity can yield
amazing results. In this video Herbie Hancock talks about midi
keyboards, and not much has changed since then in terms of basic
hardware.</p>
<a class="moz-txt-link-freetext" href="https://youtu.be/gsfT_5OQJSI">https://youtu.be/gsfT_5OQJSI</a><br>
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<div class="moz-cite-prefix">On 12/21/2017 10:35 AM, Bruno Afonso
wrote:<br>
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<blockquote type="cite"
cite="mid:CA+z2k4t+K_xi7Nwfk6L7a4ZL7ve+ww_vs6sQoBAn5gNrtaAQ1A@mail.gmail.com">
<div dir="ltr">What is necessarily specific to hammer, the
velocity of note? You can simply ignore velocity and use a CC to
fully control the envelope. This is what Continuum and Roli give
you if you wish so and your synth allows you to do it. Then note
ON and OFF are simply mute parameters.
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<div>It's nice to use the velocity to further shape your sound
since velocity is inherently musical as the onset of sound is
key to how we perceive timbre in acoustic instruments.
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<div dir="ltr">On Sun, Dec 17, 2017 at 11:04 AM Mike HEQX <<a
href="mailto:mike@heqx.com" moz-do-not-send="true">mike@heqx.com</a>>
wrote:<br>
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<blockquote class="gmail_quote" style="margin:0 0 0
.8ex;border-left:1px #ccc solid;padding-left:1ex">Yes it's
the midi paradigm that I was thinking under.<br>
<br>
That's the thing about midi. Some of it is based on the
Piano, and<br>
that's a limited scope in terms of key action, and also very
specific to<br>
hammer action. Ultimately a limiting factor in creating new
instruments.<br>
maybe i have not seen the full spectrum of controllers
though.<br>
<br>
Roli did a good job with the Seaboard as a workaround
solution. Even<br>
with HD midi are we really leaving the piano model and being
more open?<br>
Not sure on that one.<br>
<br>
Mike<br>
<br>
<br>
On 12/17/2017 1:43 AM, <a
href="mailto:rsdio@audiobanshee.com" target="_blank"
moz-do-not-send="true">rsdio@audiobanshee.com</a> wrote:<br>
> You don't even need two thresholds.<br>
><br>
> Velocity is the difference between any two positions,
provided that you know the time between the measurement of
each position. Since most keyboard scanners run at a fixed
polling rate, every scan could produce a velocity by
comparing the old and new positions. Negative velocities
would simply be release velocity.<br>
><br>
> You still might want thresholds of a sort, depending
upon whether you want the MIDI Velocity to reflect the first
velocity measurement after the key leaves the top position,
or the last velocity measure before the key hits the bottom
position. It would be interesting to see how much they
differ, and which corresponds more closely to the feel of
the musician.<br>
><br>
> If you break out of the MIDI paradigm, though, you
could have a messaging protocol with continuous position and
velocity updates.<br>
><br>
> Brian<br>
><br>
><br>
> On Dec 16, 2017, at 8:45 PM, Mike HEQX <<a
href="mailto:mike@heqx.com" target="_blank"
moz-do-not-send="true">mike@heqx.com</a>> wrote:<br>
>> This type of linear sensing can also sense velocity
just like two switches do now in most keybeds, just by
setting two thresholds. So you get the linear and switching
at the same time and it's adjustable. Very useful.<br>
>><br>
<br>
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