iPad Moog

[Tony Hardie-Bick]

On 03/10/11 19:46, Andrew Tarpinian wrote:
>
> On Sep 16, 2011, at 1:35 PM, James Coplin wrote:
>
>>> Much of the charm sits between the ears of whoever is playing.
>>
>> Ding! Ding! Ding!  And we have a winner...
>>
>
>> .... I hooked him up
>> with mine and he was floored by just a single osc voice.  There is
>> something there but I have no idea what it is.  It's probably all in my
>> head.
>
> It IS in your head actually :)
>
> What you said has been sticking in my brain lately - I think something exists in the connection of the instrument and the player, the instrument is inspiring the player in real time, the player is actually surprised by what is coming out of the instrument (even if it is subtle,) this leads to further creativity and expression in what is being played. You can design a patch on an analog emulating soft synth but your brain know exactly what that patch is going to do.
>
> It's fucking inception man!

Feedback loops amplify small changes, and when you're playing a musical 
instrument, that feedback loop includes the musician. Hence, extremely subtle 
changes in sound can have a great influence on the resulting performance.

This is also true down at the DSP level: The maths of feedback loops is very 
subtle, in the way bits are lost after a multiplication result is truncated, and 
many elements of DSP synthesis include feedback.

Tony (HB)