RE: [AH] Theremini

From laurie
Sent Tue, Jan 28th 2014, 03:53

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if you listened to a good theremin player, you would know why they continue=
d to make them.... its the performance ...the expression from the pitch and=
 amplitude that make it... not the sound... thats why they still make violi=
ns.... altho the sound of a violin is a bit more complex... you can't sampl=
e performance...   ---- On Mon, 27 Jan 2014 16:12:52 -0800 Frank Vanaman &l=
t;fvanaman@gadgetland.net> wrote ----  'evening-- -----Original Message-=
---- From: Kenneth Elhardt [mailto:elhardt@att.net] {in part} What I'm cons=
tantly baffled about is why after the invention of the synthesizer is the T=
heremin still being produced and bought. It makes one sound and seems near =
impossible to play. With pitch bend wheels, portamento, ribbon controllers,=
 or keyboards like the French Connection (link below for those who forgot i=
t exists) or Continuum, -- -- -- Having heard [a very few] good players, I =
guess I wouldn't just wholesale write the instrument off! That said, I've h=
eard a lot of theremin 'playing' that I'd be really happy to un-hear. I als=
o know that with my ear-to-motor skills it would take a very long time to g=
et me where I'd be good enough to play at what I'd call even a remotely acc=
eptable level. I am perfectly satisfied with both the Continuum and Doepfer=
 ribbon controllers for getting the level of expression and "pitch-glidabil=
ity" I need. For me, having a physical object to rest on is fairly importan=
t for lengthy playing. I spent some time waving about with one of Paul Perr=
y's Frostwave space-beams and got to the point where I got real tired of ho=
lding my arm up. Call me an old wheeze-bag. At some point it occurred to me=
 that the CV from the Frostwave, through a quantizer and then through a lag=
 could give something of a pitch-correcting effect, but of course the succe=
ss of that effect is dependent on the lag rate and the distance between the=
 notes you want to hit. The continuum has what I'd call the most elegant fe=
eling pitch-rounding functions I've experienced. You can make it snap pitch=
es to the nearest half-step as you play, or you can set it to round your no=
tes to the nearest half step over a period of time. I've settled on a setti=
ng which takes a long time to round, based on the idea that I'll learn to g=
et my intervals right (since it won't correct my mis-played notes immediate=
ly) but if I keep holding something sour for a real long time it will event=
ually get it tuned. The idea of the Theremini having that continuous contro=
l over how it snapped to notes just made me wonder how well it works in tho=
se intermediate regions, which is where I'd be if I were trying to use one.=
 Frank=20

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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"><html><head>=
<meta content=3D"text/html;charset=3DUTF-8" http-equiv=3D"Content-Type"></h=
ead><body ><div style=3D'font-size:10pt;font-family:Verdana,Arial,Helvetica=
,sans-serif;'><DIV>if you listened to a good theremin player, you would kno=
w why they continued to make them.... its the performance ...<BR>the expres=
sion from the pitch and amplitude that make it... not the sound... thats wh=
y they still make violins.... altho the sound of a violin is a bit more com=
plex... you can't sample performance...</DIV>
 <DIV><BR>&nbsp;</DIV>
 <DIV id=3D1><BR>---- On Mon, 27 Jan 2014 16:12:52 -0800 <B>Frank Vanaman &=
lt;fvanaman@gadgetland.net&gt;</B> wrote ---- <BR></DIV><BR>
 <BLOCKQUOTE style=3D"BORDER-LEFT: #0000ff 1px solid; MARGIN: 0px 0px 0px 5=
px; PADDING-LEFT: 6px">'evening-- <BR><BR>-----Original Message----- <BR>Fr=
om: Kenneth Elhardt [mailto:elhardt@att.net] <BR><BR>{in part} <BR>What I'm=
 constantly baffled about is why after the invention of the synthesizer is =
the Theremin still being produced and bought. It makes one sound and seems =
near impossible to play. With pitch bend wheels, portamento, ribbon control=
lers, or keyboards like the French Connection (link below for those who for=
got it exists) or Continuum, <BR><BR>-- -- -- <BR><BR>Having heard [a very =
few] good players, I guess I wouldn't just wholesale write the instrument o=
ff! That said, I've heard a lot of theremin 'playing' that I'd be really ha=
ppy to un-hear. I also know that with my ear-to-motor skills it would take =
a very long time to get me where I'd be good enough to play at what I'd cal=
l even a remotely acceptable level. <BR><BR>I am perfectly satisfied with b=
oth the Continuum and Doepfer ribbon controllers for getting the level of e=
xpression and "pitch-glidability" I need. For me, having a physical object =
to rest on is fairly important for lengthy playing. I spent some time wavin=
g about with one of Paul Perry's Frostwave space-beams and got to the point=
 where I got real tired of holding my arm up. Call me an old wheeze-bag. <B=
R><BR>At some point it occurred to me that the CV from the Frostwave, throu=
gh a quantizer and then through a lag could give something of a pitch-corre=
cting effect, but of course the success of that effect is dependent on the =
lag rate and the distance between the notes you want to hit. <BR><BR>The co=
ntinuum has what I'd call the most elegant feeling pitch-rounding functions=
 I've experienced. You can make it snap pitches to the nearest half-step as=
 you play, or you can set it to round your notes to the nearest half step o=
ver a period of time. I've settled on a setting which takes a long time to =
round, based on the idea that I'll learn to get my intervals right (since i=
t won't correct my mis-played notes immediately) but if I keep holding some=
thing sour for a real long time it will eventually get it tuned. <BR><BR>Th=
e idea of the Theremini having that continuous control over how it snapped =
to notes just made me wonder how well it works in those intermediate region=
s, which is where I'd be if I were trying to use one. <BR><BR>Frank <BR><BR=
></BLOCKQUOTE><BR></div></body></html>
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