iPad Moog

[Tony Hardie-Bick]

On 03/10/11 19:59, Tony Hardie-Bick wrote:
> 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.

I hasten to add, that this doesn't make analogue intrinsically more musical, 
just different, especially when you take human psychology into account :)

Tony (HB)