MIDI/Audio wish list

Dear All,

The `21st Century Acoustic Orchestral Instruments' (for ATS) is still
going_ have been hoping to launch in January, not sure if we'll make
it.

As an Appendix to the discussion paper I had the idea of including a
list of features/improvements that would specifically benefit
composers and others who use MIDI and digital audio for alternative
tunings.

Why include this in a paper about acoustic instruments? It makes sense
that the two grow together. In the paper I mention the value of
making electronic simulations of pieces using ATS, as an aid for
(acoustic) performers to learn a new piece. Other purposes: checking
the ears, creating the work itself (first and foremost I'm a
composer); creating an electronic realisation of a microtonal score of
which there's no recording. There are quite a lot of problems with
simulation - especially the time it takes... in fact it's
interesting how difficult it is to do well.

However - I don't own a synth - I don't like them. The unit I use is
a Roland S750 sampler, which I bought back in 1991. (_speaking of
which microtonal instruments do you have_ my main instrument is an
1890's Bechstein _but unfortunately it's not too keen on being
re-tuned _).

The Roland is a useful tool, but there are 3 major drawbacks.

1) Limited RAM capacity (18Mb). (The EMU E4 takes 128Mb, but the
Emulators don't tune in cents. I think they tune in 1/64th of a
semitone, which is unhelpful).

2) There are only 255 partials (=`Keygroups' in AKAI-speak ; `Zones'
in EMU-talk). This means, for example, that if one wanted to create a
simulation of a string trio in 22-ET, and each instrument is given
the (very restricted) range of 3 octaves, that already takes up
(3*3*22) = 198 partials. And that's just for, say, a single bowed
stroke, so there's not much left over for pizzicato_ let alone
simulating a chamber orchestra_ So there's multi-tracking_ There's
also the E4 again, which has 1000 zones (or is it unlimited ? But, as
I say, the E4 tunes in 1/64ths_ and, there's the Kurzweil K2500_,
and Kyma...)

3) But it takes for ever to build these patches- tailoring the
samples, naming the partials, assigning them to MIDI note numbers
etc. (I work with one sample per note, so a single violin patch may
take up to about 32 Mb).

And, after all this, the simulation is NOT music. Its just a
simulation - stiff, inexpressive, fairly lifeless_ (yes, there's
physical modelling, and its getting better_ slowly.)

Anyhow, the gist of all this is : my wish list would include things
like :

Tuning resolution minimum 1 cent, preferably less (any thoughts on
this?); Number of Partials (Keygroups, Zones) limited by memory only,
not hard coded into the architecture; Include on-board absolute pitch
meter (but would put the price up); Macro and template procedures for
building unconventional `instruments';

AND -

A kind of `kit' mother keyboard with a large number of movable slots
into which a user configurable number and arrangement of keys of
different sizes and colours could be fitted_ And new types of control
for keys (taking the idea of `after touch' further_)

The discussion paper will be on the Net, and Emailed freely, but hard
copies will also be sent to about 200 major composers, acousticians,
instruments builders/manufacturers. If anyone would like to include
any ideas in this Appendix please let me know. I'm asking because, as
I say, I don't own a synth or a VL, and I'm not really a computer/MIDI
buff, so I'm sure some of you will have much better ideas than me.
But please don't make any suggestion so technical I won't understand
them! (If its OK with you, I would acknowledge the list rather than
individuals (?)).

Hope that's a good idea. I'm still hopelessly busy, but will get
back to you as I can.

All best,

Patrick Ozzard-Low


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