Update and correction re Cheap Xen Keyboard

After having several other things get in the way, I finally got to
finish my 22TET-oriented keyboard yesterday. It's now 100% complete,
and all buttoned up, but I ran into a snag or two that I want to pass
on as as an addendum.

One correction to my previous article: The "C & E" 2 key subassemblies
*are* the ones I used (along with a single key (D?) to build the
white keys up, with one exception noted below. [Should have labelled
the piles "use" and "don't" I guess. :-) ]

After getting the "metalwork" [trimming the little tabs on the key
frame] taken care of, and proceeding to tighten everything down, I
found that the "slop" caused by the slightly non-uniform spacing of
the key mechanism when laid out for 12, necessitated a minor design
change at one end of the keyboard, and a little whittling of a couple
of keys to allow them to move freely. No big deal, but it did add
some additional trips to the workshop. The design change involved
using a "G-B" 2 key assembly on the end where the full width C-key is.
I also had to redrill a couple of mounting holes in the assemblies to
accomodate the realignment.

So, "how does it work?"...

Well, not being a keyboard player, I can't be too much of a judge, but
overall it is at least as playable to these fingers as it was before I
put it under the knife. The resistance of the keys is somewhat
uneven, which would probably bother the more skilled among you, but
we're talking low end plastic here -- I don't expect too much,
especially from a "proof of concept" piece. The resistance issue
could probably have been solved by pulling and rearranging the little
plunger switches, but I didn't go that far this time around.

As it was, I had to fiddle with one problematic key/plunger
combination to make it work correctly. I was getting multiple
triggers from that key (it would be neat if there was a switch to make
that happen instrument wide). As it turned out, the realignment
coupled with that particular membranes physical disposition was just
enough to cause some kind of bounce. THe problem was solved by
removing the problematic keygroup and one of its neighbors, doing a
bit more whittling, and then reassembling with the unit ON and hooked
up. I twisted and torqued things until it all worked, and then
tightened up.

So far, so good. Now all I have to do is learn to play the thing. :-)
As Paul noted earlier, the stretch is still pretty wide, but at least
now I can span a "3/2" (13o22) with one hand.

Steve


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From: "Patrick Ozzard-Low"
Subject: Woodwinds for ATS
PostedDate: 17-11-97 20:26:32
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On Mon, 17 Nov 1997, Patrick Ozzard-Low wrote:
> Dear Tuning,
> Johnny Reinhard wrote:
>
> > I believe there should be enough evidence in Prague for the quartertone
> > clarinets that the Czechs use for their annual performances of Haba's
> > _Matka_.
>
> Sorry, I lost you. Evidence for what? That they are an improvement
> for playing Haba or not ? On this topic I'd be very grateful if you
> can give me any more details. The 4 quarter tone clarinets I'm aware
> of (Digest 1230): Stein 1911 (built by Kohlert 1912), two
> commissioned by Haba (Kohlert 1924 and 1931), and Schuller (1933).

I do not have the contacts in Prague but the players of the enahnced
clarinets would certainly have vital information. As I understand it, the
players exchange their A and Bb clarinets for the quartertone ones. I'm
sure they have importants opinions based on their personal experiences.
Check with the Czech opera in Prague and talk to the clarinetists in the
orchestra about who has experience with the extra-keyed versions.

> > I guess the exploration of the standard instruments needs to be through
> > before I would recommend changing their physical form.
>
> It will never be through! The idea of building new instruments
> doesn't mean the old one's are going to be scrapped...

Pardon me, I meant "thorough." The advent of keys to woodwinds has been a
boon to expressivity. Certainly, it allowed for playing in more keys than
those without. The fingerings on bassoon allow for absolutely any pitch
frequency (except perhaps for the lowest tetrachord, which has the least
available combinations of keys).

> >Each offers so much more than present consciousness allows.
>
> ...they demand a degree of technique which will be
> unnecessary with new and specifically designed instruments for a
> given system (or systems).

When asked which instrument is the hardest by a young, naive individual.
The honest answer is that they are all equally hard in the long run.
While a harp string is easy to pluck, this easy challenge is compounded
later on by the rapidity of of multiple harp simultanaities, artistically
rendered...and invariably by memory.

I honestly think it's not that hard to learn microtonal playing on
conventional instruments. And that if there is was even a little bit of
emphasis on microtonal playing, as well as ear training, and historical
development in the schools -- across the board -- it would be accepted
right now as a mere matter of fact.

Johnny Reinhard/AFMM
reinhard@idt.net


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