Yahoo Tuning Groups Ultimate Backup tuning The Terpstra Keyboard

--- This is a double post from
--- "The Xenharmonic Alliance" Facebook Group.
--- To see the pictures, follow the link:
--- https://www.facebook.com/media/set/?set=oa.10150998052409482

Would you be interested in a limited-edition, not-in-production generalised keyboard?

Layout: matrix, 2D hexagonal, completely generalised. The geometry of the Terpstra keyboard layout is characterized by a vertical shift in position between the top surface of a key and the six keys adjacent to it. This results in an intuitive feel for changes in pitch as your fingers move across the keyboard.

Each key has a removable magnetic key cap, so different colored or labeled key caps can be easily swapped around when you re-map the keys to a different scale.

"The main difference with our keyboard is the expressivity allowed by the mechanical action of the keys, which is completely different from other similar keyboards that had been produced in the past."

The key sensing for the Terpstra is one of a kind because the electronics constantly monitor the position of every key by magnetically sensing for the whole key throw (not by triggering switches at the bottom of the key press and measuring the time differential). When a key is depressed, the entire change in position is monitored and translated to a very accurate and nuanced velocity by the time the key hits the bottom.

"I am a keyboard player and the feel of the Terpstra was really exceptional and had very expressive touch that was lighter but much like a real piano, only faster."

Every key is easily re-mappable and if mapped to a continuous controller, then slowly depressing any re-mapped key sends out continuous data like a fader in real time. It does all of this with no latency.

"Upon seeing it, I could immediately appreciate the manufacturing quality of this prototype â" well made thick aluminum case with a look and solidity that is reminiscent of Apple G5 and 8-core towers."

Keyboards take a huge amount of abuse during live performance. This one is a precision machine built like a tank; it can withstand the constant pounding of an energetic concert performance.

This innovative and quality controller has a key layout that, unlike the Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a slightly different height â" which when combined with the irregular shape of the front row of keys, allows you to feel where your hands are on the keys without looking. This means that for the first time you can play a matrix keyboard without having to constantly look at it to know where you are.

"I would LOVE to map some keys to sweep filters, and leave other keys as notes to trigger the sounds feeding through the filter. This WOULD be the funkiest microtonal thing ever!"

The product designers who built the only 2 working prototypes are ready to take a 20-pieces order. The first one is mine, so there are 19 "available". The culprit is, it cannot go into production unless there are at least 20 buyers.

Price: 2189 USD / 1789 EUR

Alternatives:
C-Thru Music Axis 64 - 2312 USD / 1887 EUR
Opal Gecko - 3749 USD / 3060 EUR
StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR

🔗hstraub64 <straub@...>

Errm, you are putting me into troubles... How long is this offer valid? (In case I would think about it...)

And speaking of re-mappability: do you know how exactly this thing is remappable? Especially whether it is possible to map each key to an individual MIDI channel (to cope with synths that allow only per-octave retuning)?

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> --- This is a double post from
> --- "The Xenharmonic Alliance" Facebook Group.
> --- To see the pictures, follow the link:
> --- https://www.facebook.com/media/set/?set=oa.10150998052409482
>
>
> Would you be interested in a limited-edition, not-in-production generalised keyboard?
>
>
> Layout: matrix, 2D hexagonal, completely generalised. The geometry of the Terpstra keyboard layout is characterized by a vertical shift in position between the top surface of a key and the six keys adjacent to it. This results in an intuitive feel for changes in pitch as your fingers move across the keyboard.
>
> Each key has a removable magnetic key cap, so different colored or labeled key caps can be easily swapped around when you re-map the keys to a different scale.
>
> "The main difference with our keyboard is the expressivity allowed by the mechanical action of the keys, which is completely different from other similar keyboards that had been produced in the past."
>
> The key sensing for the Terpstra is one of a kind because the electronics constantly monitor the position of every key by magnetically sensing for the whole key throw (not by triggering switches at the bottom of the key press and measuring the time differential). When a key is depressed, the entire change in position is monitored and translated to a very accurate and nuanced velocity by the time the key hits the bottom.
>
> "I am a keyboard player and the feel of the Terpstra was really exceptional and had very expressive touch that was lighter but much like a real piano, only faster."
>
> Every key is easily re-mappable and if mapped to a continuous controller, then slowly depressing any re-mapped key sends out continuous data like a fader in real time. It does all of this with no latency.
>
> "Upon seeing it, I could immediately appreciate the manufacturing quality of this prototype â" well made thick aluminum case with a look and solidity that is reminiscent of Apple G5 and 8-core towers."
>
> Keyboards take a huge amount of abuse during live performance. This one is a precision machine built like a tank; it can withstand the constant pounding of an energetic concert performance.
>
> This innovative and quality controller has a key layout that, unlike the Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a slightly different height â" which when combined with the irregular shape of the front row of keys, allows you to feel where your hands are on the keys without looking. This means that for the first time you can play a matrix keyboard without having to constantly look at it to know where you are.
>
> "I would LOVE to map some keys to sweep filters, and leave other keys as notes to trigger the sounds feeding through the filter. This WOULD be the funkiest microtonal thing ever!"
>
>
> The product designers who built the only 2 working prototypes are ready to take a 20-pieces order. The first one is mine, so there are 19 "available". The culprit is, it cannot go into production unless there are at least 20 buyers.
>
> Price: 2189 USD / 1789 EUR
>
> Alternatives:
> C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> Opal Gecko - 3749 USD / 3060 EUR
> StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
>

🔗hstraub64 <straub@...>

Bogdan, WHERE CAN I ORDER THIS?!

🔗Joey Di Nardo <username652719@...>

🔗Bogdan <baros_ilogic@...>

REPLY TO ALL (coming back from vacation).

First of all an UPDATE on the alternatives: StarrLabs MicroZone U-648 is 8995 USD / 7365 EUR! You can check this on their homepage:
http://www.starrlabs.com/index.php?route=product/product&path=69/microzone-u-648&product_id=66

We are now 3 interested, 17 to go.

--- In tuning@yahoogroups.com, "hstraub64" <straub@...> wrote:
>
> Errm, you are putting me into troubles... How long is this offer valid? (In case I would think about it...)
>
> And speaking of re-mappability: do you know how exactly this thing is remappable? Especially whether it is possible to map each key to an individual MIDI channel (to cope with synths that allow only per-octave retuning)?
>

This offer is valid until we are 20 persons commited to buy. If we are willing to wait and not change our minds until we are 20, then the offer is simply ongoing.

I would say it is possible to map each key to an individual MIDI channel. If the general MIDI specifications allow this, then it is for sure.

I will post by the end of the day, in the Facebook group, pictures with common layouts for 12-note tunings (Halberstadt/Janko, Tonnetz/Wicky-Hayden, Harmonic Table/Sonome).
https://www.facebook.com/media/set/?set=oa.10150998052409482

--- In tuning@yahoogroups.com, "hstraub64" <straub@...> wrote:
>
> Bogdan, WHERE CAN I ORDER THIS?!

This cannot be ordered anywhere, as it is not in production. I am personally speaking with the builder - the one who built the first 2 prototypes - and we're going to make more. But he cannot build less than 20 at once.

--- In tuning@yahoogroups.com, Joey Di Nardo <username652719@...> wrote:
>
> I must have one, count me a buyer!
>
> I'd also look forward to writing a Terpstra specific max patch we could all
> use to play nicely with those retuning Kontakt scripts that are available.
> Unless, of course, a max patch is already in the works.
>
> Best,
>
> Joey Di Nardo
>

Welcome aboard!

The software for this project will be open source. I look forward to see the fruition of your ideea, as I am personally using Kontakt patches for my musical work.

In order to gather all people in one place I will create a Indiegogo campaign. This is an all-or-nothing funding method. The ideea is to present the possibility of the project to interested people, who in turn will sign in for buying one with their credit cards. No money will change hands initially. When (and if) there are enough buyers interested so that we have our budget, the credit cards get charged and the money goes in the producer's account so he can start building the keyboard.

Indiegogo is also our assurance that if started, the project will come to completion and we will receive our keyboards.
http://www.indiegogo.com/

WAITING TIME IS 6 MONTHS FROM THE DATE WHEN FUNDING IS COMPLETE.
With an October 2012 start:
1 month to revise drawings
1 month for production liason
1 month for tooling and PCB verification (would need to build 1 set with current vendors and verify everything is done properly prior to engaging in complete run of 20 boards, which is actually 100 boards as each keyboard contains 5 large PCBs)
6-8 weeks to complete production on first 20
Add buffer of 4-6 weeks for unforeseen issues
TOTAL: ~ 6 months

> Would you be interested in a limited-edition, not-in-production generalised
keyboard?
>
>
> Layout: matrix, 2D hexagonal, completely generalised. The geometry of the
Terpstra keyboard layout is characterized by a vertical shift in position
between the top surface of a key and the six keys adjacent to it. This results
in an intuitive feel for changes in pitch as your fingers move across the
keyboard.
>
> Each key has a removable magnetic key cap, so different colored or labeled key
caps can be easily swapped around when you re-map the keys to a different scale.
>
> "The main difference with our keyboard is the expressivity allowed by the
mechanical action of the keys, which is completely different from other similar
keyboards that had been produced in the past."
>
> The key sensing for the Terpstra is one of a kind because the electronics
constantly monitor the position of every key by magnetically sensing for the
whole key throw (not by triggering switches at the bottom of the key press and
measuring the time differential). When a key is depressed, the entire change in
position is monitored and translated to a very accurate and nuanced velocity by
the time the key hits the bottom.
>
> "I am a keyboard player and the feel of the Terpstra was really exceptional
and had very expressive touch that was lighter but much like a real piano, only
faster."
>
> Every key is easily re-mappable and if mapped to a continuous controller, then
slowly depressing any re-mapped key sends out continuous data like a fader in
real time. It does all of this with no latency.
>
> "Upon seeing it, I could immediately appreciate the manufacturing quality of
this prototype â" well made thick aluminum case with a look and solidity that
is reminiscent of Apple G5 and 8-core towers."
>
> Keyboards take a huge amount of abuse during live performance. This one is a
precision machine built like a tank; it can withstand the constant pounding of
an energetic concert performance.
>
> This innovative and quality controller has a key layout that, unlike the
Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a
slightly different height â" which when combined with the irregular shape of
the front row of keys, allows you to feel where your hands are on the keys
without looking. This means that for the first time you can play a matrix
keyboard without having to constantly look at it to know where you are.
>
> "I would LOVE to map some keys to sweep filters, and leave other keys as notes
to trigger the sounds feeding through the filter. This WOULD be the funkiest
microtonal thing ever!"
>
>
> The product designers who built the only 2 working prototypes are ready to
take a 20-pieces order. The first one is mine, so there are 19 "available". The
culprit is, it cannot go into production unless there are at least 20 buyers.
>
> Price: 2189 USD / 1789 EUR
>
> Alternatives:
> C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> Opal Gecko - 3749 USD / 3060 EUR
> StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
>

🔗hstraub64 <straub@...>

Just to make sure: you have added me to the list, right?

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> REPLY TO ALL (coming back from vacation).
>
> First of all an UPDATE on the alternatives: StarrLabs MicroZone U-648 is 8995 USD / 7365 EUR! You can check this on their homepage:
> http://www.starrlabs.com/index.php?route=product/product&path=69/microzone-u-648&product_id=66
>
> We are now 3 interested, 17 to go.
>
>
> --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> >
> > Errm, you are putting me into troubles... How long is this offer valid? (In case I would think about it...)
> >
> > And speaking of re-mappability: do you know how exactly this thing is remappable? Especially whether it is possible to map each key to an individual MIDI channel (to cope with synths that allow only per-octave retuning)?
> >
>
> This offer is valid until we are 20 persons commited to buy. If we are willing to wait and not change our minds until we are 20, then the offer is simply ongoing.
>
> I would say it is possible to map each key to an individual MIDI channel. If the general MIDI specifications allow this, then it is for sure.
>
> I will post by the end of the day, in the Facebook group, pictures with common layouts for 12-note tunings (Halberstadt/Janko, Tonnetz/Wicky-Hayden, Harmonic Table/Sonome).
> https://www.facebook.com/media/set/?set=oa.10150998052409482
>
>
> --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> >
> > Bogdan, WHERE CAN I ORDER THIS?!
>
> This cannot be ordered anywhere, as it is not in production. I am personally speaking with the builder - the one who built the first 2 prototypes - and we're going to make more. But he cannot build less than 20 at once.
>
>
> --- In tuning@yahoogroups.com, Joey Di Nardo <username652719@> wrote:
> >
> > I must have one, count me a buyer!
> >
> > I'd also look forward to writing a Terpstra specific max patch we could all
> > use to play nicely with those retuning Kontakt scripts that are available.
> > Unless, of course, a max patch is already in the works.
> >
> > Best,
> >
> > Joey Di Nardo
> >
>
> Welcome aboard!
>
> The software for this project will be open source. I look forward to see the fruition of your ideea, as I am personally using Kontakt patches for my musical work.
>
>
> In order to gather all people in one place I will create a Indiegogo campaign. This is an all-or-nothing funding method. The ideea is to present the possibility of the project to interested people, who in turn will sign in for buying one with their credit cards. No money will change hands initially. When (and if) there are enough buyers interested so that we have our budget, the credit cards get charged and the money goes in the producer's account so he can start building the keyboard.
>
> Indiegogo is also our assurance that if started, the project will come to completion and we will receive our keyboards.
> http://www.indiegogo.com/
>
>
> WAITING TIME IS 6 MONTHS FROM THE DATE WHEN FUNDING IS COMPLETE.
> With an October 2012 start:
> 1 month to revise drawings
> 1 month for production liason
> 1 month for tooling and PCB verification (would need to build 1 set with current vendors and verify everything is done properly prior to engaging in complete run of 20 boards, which is actually 100 boards as each keyboard contains 5 large PCBs)
> 6-8 weeks to complete production on first 20
> Add buffer of 4-6 weeks for unforeseen issues
> TOTAL: ~ 6 months
>
>
> > Would you be interested in a limited-edition, not-in-production generalised
> keyboard?
> >
> >
> > Layout: matrix, 2D hexagonal, completely generalised. The geometry of the
> Terpstra keyboard layout is characterized by a vertical shift in position
> between the top surface of a key and the six keys adjacent to it. This results
> in an intuitive feel for changes in pitch as your fingers move across the
> keyboard.
> >
> > Each key has a removable magnetic key cap, so different colored or labeled key
> caps can be easily swapped around when you re-map the keys to a different scale.
> >
> > "The main difference with our keyboard is the expressivity allowed by the
> mechanical action of the keys, which is completely different from other similar
> keyboards that had been produced in the past."
> >
> > The key sensing for the Terpstra is one of a kind because the electronics
> constantly monitor the position of every key by magnetically sensing for the
> whole key throw (not by triggering switches at the bottom of the key press and
> measuring the time differential). When a key is depressed, the entire change in
> position is monitored and translated to a very accurate and nuanced velocity by
> the time the key hits the bottom.
> >
> > "I am a keyboard player and the feel of the Terpstra was really exceptional
> and had very expressive touch that was lighter but much like a real piano, only
> faster."
> >
> > Every key is easily re-mappable and if mapped to a continuous controller, then
> slowly depressing any re-mapped key sends out continuous data like a fader in
> real time. It does all of this with no latency.
> >
> > "Upon seeing it, I could immediately appreciate the manufacturing quality of
> this prototype â" well made thick aluminum case with a look and solidity that
> is reminiscent of Apple G5 and 8-core towers."
> >
> > Keyboards take a huge amount of abuse during live performance. This one is a
> precision machine built like a tank; it can withstand the constant pounding of
> an energetic concert performance.
> >
> > This innovative and quality controller has a key layout that, unlike the
> Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a
> slightly different height â" which when combined with the irregular shape of
> the front row of keys, allows you to feel where your hands are on the keys
> without looking. This means that for the first time you can play a matrix
> keyboard without having to constantly look at it to know where you are.
> >
> > "I would LOVE to map some keys to sweep filters, and leave other keys as notes
> to trigger the sounds feeding through the filter. This WOULD be the funkiest
> microtonal thing ever!"
> >
> >
> > The product designers who built the only 2 working prototypes are ready to
> take a 20-pieces order. The first one is mine, so there are 19 "available". The
> culprit is, it cannot go into production unless there are at least 20 buyers.
> >
> > Price: 2189 USD / 1789 EUR
> >
> > Alternatives:
> > C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> > Opal Gecko - 3749 USD / 3060 EUR
> > StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
> >
>

🔗Bogdan <baros_ilogic@...>

Yes, you are in.

The Terpstra List:
01. Bogdan (me)
02. hstraub64
03. Joey Di Nardo

--- In tuning@yahoogroups.com, "hstraub64" <straub@...> wrote:
>
> Just to make sure: you have added me to the list, right?
>
> --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> >
> > REPLY TO ALL (coming back from vacation).
> >
> > First of all an UPDATE on the alternatives: StarrLabs MicroZone U-648 is 8995 USD / 7365 EUR! You can check this on their homepage:
> > http://www.starrlabs.com/index.php?route=product/product&path=69/microzone-u-648&product_id=66
> >
> > We are now 3 interested, 17 to go.
> >
> >
> > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > >
> > > Errm, you are putting me into troubles... How long is this offer valid? (In case I would think about it...)
> > >
> > > And speaking of re-mappability: do you know how exactly this thing is remappable? Especially whether it is possible to map each key to an individual MIDI channel (to cope with synths that allow only per-octave retuning)?
> > >
> >
> > This offer is valid until we are 20 persons commited to buy. If we are willing to wait and not change our minds until we are 20, then the offer is simply ongoing.
> >
> > I would say it is possible to map each key to an individual MIDI channel. If the general MIDI specifications allow this, then it is for sure.
> >
> > I will post by the end of the day, in the Facebook group, pictures with common layouts for 12-note tunings (Halberstadt/Janko, Tonnetz/Wicky-Hayden, Harmonic Table/Sonome).
> > https://www.facebook.com/media/set/?set=oa.10150998052409482
> >
> >
> > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > >
> > > Bogdan, WHERE CAN I ORDER THIS?!
> >
> > This cannot be ordered anywhere, as it is not in production. I am personally speaking with the builder - the one who built the first 2 prototypes - and we're going to make more. But he cannot build less than 20 at once.
> >
> >
> > --- In tuning@yahoogroups.com, Joey Di Nardo <username652719@> wrote:
> > >
> > > I must have one, count me a buyer!
> > >
> > > I'd also look forward to writing a Terpstra specific max patch we could all
> > > use to play nicely with those retuning Kontakt scripts that are available.
> > > Unless, of course, a max patch is already in the works.
> > >
> > > Best,
> > >
> > > Joey Di Nardo
> > >
> >
> > Welcome aboard!
> >
> > The software for this project will be open source. I look forward to see the fruition of your ideea, as I am personally using Kontakt patches for my musical work.
> >
> >
> > In order to gather all people in one place I will create a Indiegogo campaign. This is an all-or-nothing funding method. The ideea is to present the possibility of the project to interested people, who in turn will sign in for buying one with their credit cards. No money will change hands initially. When (and if) there are enough buyers interested so that we have our budget, the credit cards get charged and the money goes in the producer's account so he can start building the keyboard.
> >
> > Indiegogo is also our assurance that if started, the project will come to completion and we will receive our keyboards.
> > http://www.indiegogo.com/
> >
> >
> > WAITING TIME IS 6 MONTHS FROM THE DATE WHEN FUNDING IS COMPLETE.
> > With an October 2012 start:
> > 1 month to revise drawings
> > 1 month for production liason
> > 1 month for tooling and PCB verification (would need to build 1 set with current vendors and verify everything is done properly prior to engaging in complete run of 20 boards, which is actually 100 boards as each keyboard contains 5 large PCBs)
> > 6-8 weeks to complete production on first 20
> > Add buffer of 4-6 weeks for unforeseen issues
> > TOTAL: ~ 6 months
> >
> >
> > > Would you be interested in a limited-edition, not-in-production generalised
> > keyboard?
> > >
> > >
> > > Layout: matrix, 2D hexagonal, completely generalised. The geometry of the
> > Terpstra keyboard layout is characterized by a vertical shift in position
> > between the top surface of a key and the six keys adjacent to it. This results
> > in an intuitive feel for changes in pitch as your fingers move across the
> > keyboard.
> > >
> > > Each key has a removable magnetic key cap, so different colored or labeled key
> > caps can be easily swapped around when you re-map the keys to a different scale.
> > >
> > > "The main difference with our keyboard is the expressivity allowed by the
> > mechanical action of the keys, which is completely different from other similar
> > keyboards that had been produced in the past."
> > >
> > > The key sensing for the Terpstra is one of a kind because the electronics
> > constantly monitor the position of every key by magnetically sensing for the
> > whole key throw (not by triggering switches at the bottom of the key press and
> > measuring the time differential). When a key is depressed, the entire change in
> > position is monitored and translated to a very accurate and nuanced velocity by
> > the time the key hits the bottom.
> > >
> > > "I am a keyboard player and the feel of the Terpstra was really exceptional
> > and had very expressive touch that was lighter but much like a real piano, only
> > faster."
> > >
> > > Every key is easily re-mappable and if mapped to a continuous controller, then
> > slowly depressing any re-mapped key sends out continuous data like a fader in
> > real time. It does all of this with no latency.
> > >
> > > "Upon seeing it, I could immediately appreciate the manufacturing quality of
> > this prototype â" well made thick aluminum case with a look and solidity that
> > is reminiscent of Apple G5 and 8-core towers."
> > >
> > > Keyboards take a huge amount of abuse during live performance. This one is a
> > precision machine built like a tank; it can withstand the constant pounding of
> > an energetic concert performance.
> > >
> > > This innovative and quality controller has a key layout that, unlike the
> > Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a
> > slightly different height â" which when combined with the irregular shape of
> > the front row of keys, allows you to feel where your hands are on the keys
> > without looking. This means that for the first time you can play a matrix
> > keyboard without having to constantly look at it to know where you are.
> > >
> > > "I would LOVE to map some keys to sweep filters, and leave other keys as notes
> > to trigger the sounds feeding through the filter. This WOULD be the funkiest
> > microtonal thing ever!"
> > >
> > >
> > > The product designers who built the only 2 working prototypes are ready to
> > take a 20-pieces order. The first one is mine, so there are 19 "available". The
> > culprit is, it cannot go into production unless there are at least 20 buyers.
> > >
> > > Price: 2189 USD / 1789 EUR
> > >
> > > Alternatives:
> > > C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> > > Opal Gecko - 3749 USD / 3060 EUR
> > > StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
> > >
> >
>

🔗Mike Battaglia <battaglia01@...>

🔗Carl Lumma <carl@...>

Um, pardon

> The Terpstra List:
> 01. Bogdan (me)
> 02. Carl Lumma
> 03. hstraub64
> 04. Joey Di Nardo

-Carl

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> Yes, you are in.
>
> The Terpstra List:
> 01. Bogdan (me)
> 02. hstraub64
> 03. Joey Di Nardo

> --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> >
> > Just to make sure: you have added me to the list, right?
> >
> > --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> > >
> > > REPLY TO ALL (coming back from vacation).
> > >
> > > First of all an UPDATE on the alternatives: StarrLabs MicroZone U-648 is 8995 USD / 7365 EUR! You can check this on their homepage:
> > > http://www.starrlabs.com/index.php?route=product/product&path=69/microzone-u-648&product_id=66
> > >
> > > We are now 3 interested, 17 to go.
> > >
> > >
> > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > >
> > > > Errm, you are putting me into troubles... How long is this offer valid? (In case I would think about it...)
> > > >
> > > > And speaking of re-mappability: do you know how exactly this thing is remappable? Especially whether it is possible to map each key to an individual MIDI channel (to cope with synths that allow only per-octave retuning)?
> > > >
> > >
> > > This offer is valid until we are 20 persons commited to buy. If we are willing to wait and not change our minds until we are 20, then the offer is simply ongoing.
> > >
> > > I would say it is possible to map each key to an individual MIDI channel. If the general MIDI specifications allow this, then it is for sure.
> > >
> > > I will post by the end of the day, in the Facebook group, pictures with common layouts for 12-note tunings (Halberstadt/Janko, Tonnetz/Wicky-Hayden, Harmonic Table/Sonome).
> > > https://www.facebook.com/media/set/?set=oa.10150998052409482
> > >
> > >
> > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > >
> > > > Bogdan, WHERE CAN I ORDER THIS?!
> > >
> > > This cannot be ordered anywhere, as it is not in production. I am personally speaking with the builder - the one who built the first 2 prototypes - and we're going to make more. But he cannot build less than 20 at once.
> > >
> > >
> > > --- In tuning@yahoogroups.com, Joey Di Nardo <username652719@> wrote:
> > > >
> > > > I must have one, count me a buyer!
> > > >
> > > > I'd also look forward to writing a Terpstra specific max patch we could all
> > > > use to play nicely with those retuning Kontakt scripts that are available.
> > > > Unless, of course, a max patch is already in the works.
> > > >
> > > > Best,
> > > >
> > > > Joey Di Nardo
> > > >
> > >
> > > Welcome aboard!
> > >
> > > The software for this project will be open source. I look forward to see the fruition of your ideea, as I am personally using Kontakt patches for my musical work.
> > >
> > >
> > > In order to gather all people in one place I will create a Indiegogo campaign. This is an all-or-nothing funding method. The ideea is to present the possibility of the project to interested people, who in turn will sign in for buying one with their credit cards. No money will change hands initially. When (and if) there are enough buyers interested so that we have our budget, the credit cards get charged and the money goes in the producer's account so he can start building the keyboard.
> > >
> > > Indiegogo is also our assurance that if started, the project will come to completion and we will receive our keyboards.
> > > http://www.indiegogo.com/
> > >
> > >
> > > WAITING TIME IS 6 MONTHS FROM THE DATE WHEN FUNDING IS COMPLETE.
> > > With an October 2012 start:
> > > 1 month to revise drawings
> > > 1 month for production liason
> > > 1 month for tooling and PCB verification (would need to build 1 set with current vendors and verify everything is done properly prior to engaging in complete run of 20 boards, which is actually 100 boards as each keyboard contains 5 large PCBs)
> > > 6-8 weeks to complete production on first 20
> > > Add buffer of 4-6 weeks for unforeseen issues
> > > TOTAL: ~ 6 months
> > >
> > >
> > > > Would you be interested in a limited-edition, not-in-production generalised
> > > keyboard?
> > > >
> > > >
> > > > Layout: matrix, 2D hexagonal, completely generalised. The geometry of the
> > > Terpstra keyboard layout is characterized by a vertical shift in position
> > > between the top surface of a key and the six keys adjacent to it. This results
> > > in an intuitive feel for changes in pitch as your fingers move across the
> > > keyboard.
> > > >
> > > > Each key has a removable magnetic key cap, so different colored or labeled key
> > > caps can be easily swapped around when you re-map the keys to a different scale.
> > > >
> > > > "The main difference with our keyboard is the expressivity allowed by the
> > > mechanical action of the keys, which is completely different from other similar
> > > keyboards that had been produced in the past."
> > > >
> > > > The key sensing for the Terpstra is one of a kind because the electronics
> > > constantly monitor the position of every key by magnetically sensing for the
> > > whole key throw (not by triggering switches at the bottom of the key press and
> > > measuring the time differential). When a key is depressed, the entire change in
> > > position is monitored and translated to a very accurate and nuanced velocity by
> > > the time the key hits the bottom.
> > > >
> > > > "I am a keyboard player and the feel of the Terpstra was really exceptional
> > > and had very expressive touch that was lighter but much like a real piano, only
> > > faster."
> > > >
> > > > Every key is easily re-mappable and if mapped to a continuous controller, then
> > > slowly depressing any re-mapped key sends out continuous data like a fader in
> > > real time. It does all of this with no latency.
> > > >
> > > > "Upon seeing it, I could immediately appreciate the manufacturing quality of
> > > this prototype â" well made thick aluminum case with a look and solidity that
> > > is reminiscent of Apple G5 and 8-core towers."
> > > >
> > > > Keyboards take a huge amount of abuse during live performance. This one is a
> > > precision machine built like a tank; it can withstand the constant pounding of
> > > an energetic concert performance.
> > > >
> > > > This innovative and quality controller has a key layout that, unlike the
> > > Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a
> > > slightly different height â" which when combined with the irregular shape of
> > > the front row of keys, allows you to feel where your hands are on the keys
> > > without looking. This means that for the first time you can play a matrix
> > > keyboard without having to constantly look at it to know where you are.
> > > >
> > > > "I would LOVE to map some keys to sweep filters, and leave other keys as notes
> > > to trigger the sounds feeding through the filter. This WOULD be the funkiest
> > > microtonal thing ever!"
> > > >
> > > >
> > > > The product designers who built the only 2 working prototypes are ready to
> > > take a 20-pieces order. The first one is mine, so there are 19 "available". The
> > > culprit is, it cannot go into production unless there are at least 20 buyers.
> > > >
> > > > Price: 2189 USD / 1789 EUR
> > > >
> > > > Alternatives:
> > > > C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> > > > Opal Gecko - 3749 USD / 3060 EUR
> > > > StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
> > > >
> > >
> >
>

🔗Bogdan <baros_ilogic@...>

Yes Mike and Carl, my bad.

The Terpstra List:
01. Bogdan
02. Carl Lumma
03. hstraub64
04. Joey Di Nardo

--- In tuning@yahoogroups.com, "Carl Lumma" <carl@...> wrote:
>
> Um, pardon
>
> > The Terpstra List:
> > 01. Bogdan (me)
> > 02. Carl Lumma
> > 03. hstraub64
> > 04. Joey Di Nardo
>
> -Carl
>
> --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> >
> > Yes, you are in.
> >
> > The Terpstra List:
> > 01. Bogdan (me)
> > 02. hstraub64
> > 03. Joey Di Nardo
>
> > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > >
> > > Just to make sure: you have added me to the list, right?
> > >
> > > --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> > > >
> > > > REPLY TO ALL (coming back from vacation).
> > > >
> > > > First of all an UPDATE on the alternatives: StarrLabs MicroZone U-648 is 8995 USD / 7365 EUR! You can check this on their homepage:
> > > > http://www.starrlabs.com/index.php?route=product/product&path=69/microzone-u-648&product_id=66
> > > >
> > > > We are now 3 interested, 17 to go.
> > > >
> > > >
> > > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > > >
> > > > > Errm, you are putting me into troubles... How long is this offer valid? (In case I would think about it...)
> > > > >
> > > > > And speaking of re-mappability: do you know how exactly this thing is remappable? Especially whether it is possible to map each key to an individual MIDI channel (to cope with synths that allow only per-octave retuning)?
> > > > >
> > > >
> > > > This offer is valid until we are 20 persons commited to buy. If we are willing to wait and not change our minds until we are 20, then the offer is simply ongoing.
> > > >
> > > > I would say it is possible to map each key to an individual MIDI channel. If the general MIDI specifications allow this, then it is for sure.
> > > >
> > > > I will post by the end of the day, in the Facebook group, pictures with common layouts for 12-note tunings (Halberstadt/Janko, Tonnetz/Wicky-Hayden, Harmonic Table/Sonome).
> > > > https://www.facebook.com/media/set/?set=oa.10150998052409482
> > > >
> > > >
> > > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > > >
> > > > > Bogdan, WHERE CAN I ORDER THIS?!
> > > >
> > > > This cannot be ordered anywhere, as it is not in production. I am personally speaking with the builder - the one who built the first 2 prototypes - and we're going to make more. But he cannot build less than 20 at once.
> > > >
> > > >
> > > > --- In tuning@yahoogroups.com, Joey Di Nardo <username652719@> wrote:
> > > > >
> > > > > I must have one, count me a buyer!
> > > > >
> > > > > I'd also look forward to writing a Terpstra specific max patch we could all
> > > > > use to play nicely with those retuning Kontakt scripts that are available.
> > > > > Unless, of course, a max patch is already in the works.
> > > > >
> > > > > Best,
> > > > >
> > > > > Joey Di Nardo
> > > > >
> > > >
> > > > Welcome aboard!
> > > >
> > > > The software for this project will be open source. I look forward to see the fruition of your ideea, as I am personally using Kontakt patches for my musical work.
> > > >
> > > >
> > > > In order to gather all people in one place I will create a Indiegogo campaign. This is an all-or-nothing funding method. The ideea is to present the possibility of the project to interested people, who in turn will sign in for buying one with their credit cards. No money will change hands initially. When (and if) there are enough buyers interested so that we have our budget, the credit cards get charged and the money goes in the producer's account so he can start building the keyboard.
> > > >
> > > > Indiegogo is also our assurance that if started, the project will come to completion and we will receive our keyboards.
> > > > http://www.indiegogo.com/
> > > >
> > > >
> > > > WAITING TIME IS 6 MONTHS FROM THE DATE WHEN FUNDING IS COMPLETE.
> > > > With an October 2012 start:
> > > > 1 month to revise drawings
> > > > 1 month for production liason
> > > > 1 month for tooling and PCB verification (would need to build 1 set with current vendors and verify everything is done properly prior to engaging in complete run of 20 boards, which is actually 100 boards as each keyboard contains 5 large PCBs)
> > > > 6-8 weeks to complete production on first 20
> > > > Add buffer of 4-6 weeks for unforeseen issues
> > > > TOTAL: ~ 6 months
> > > >
> > > >
> > > > > Would you be interested in a limited-edition, not-in-production generalised
> > > > keyboard?
> > > > >
> > > > >
> > > > > Layout: matrix, 2D hexagonal, completely generalised. The geometry of the
> > > > Terpstra keyboard layout is characterized by a vertical shift in position
> > > > between the top surface of a key and the six keys adjacent to it. This results
> > > > in an intuitive feel for changes in pitch as your fingers move across the
> > > > keyboard.
> > > > >
> > > > > Each key has a removable magnetic key cap, so different colored or labeled key
> > > > caps can be easily swapped around when you re-map the keys to a different scale.
> > > > >
> > > > > "The main difference with our keyboard is the expressivity allowed by the
> > > > mechanical action of the keys, which is completely different from other similar
> > > > keyboards that had been produced in the past."
> > > > >
> > > > > The key sensing for the Terpstra is one of a kind because the electronics
> > > > constantly monitor the position of every key by magnetically sensing for the
> > > > whole key throw (not by triggering switches at the bottom of the key press and
> > > > measuring the time differential). When a key is depressed, the entire change in
> > > > position is monitored and translated to a very accurate and nuanced velocity by
> > > > the time the key hits the bottom.
> > > > >
> > > > > "I am a keyboard player and the feel of the Terpstra was really exceptional
> > > > and had very expressive touch that was lighter but much like a real piano, only
> > > > faster."
> > > > >
> > > > > Every key is easily re-mappable and if mapped to a continuous controller, then
> > > > slowly depressing any re-mapped key sends out continuous data like a fader in
> > > > real time. It does all of this with no latency.
> > > > >
> > > > > "Upon seeing it, I could immediately appreciate the manufacturing quality of
> > > > this prototype â" well made thick aluminum case with a look and solidity that
> > > > is reminiscent of Apple G5 and 8-core towers."
> > > > >
> > > > > Keyboards take a huge amount of abuse during live performance. This one is a
> > > > precision machine built like a tank; it can withstand the constant pounding of
> > > > an energetic concert performance.
> > > > >
> > > > > This innovative and quality controller has a key layout that, unlike the
> > > > Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a
> > > > slightly different height â" which when combined with the irregular shape of
> > > > the front row of keys, allows you to feel where your hands are on the keys
> > > > without looking. This means that for the first time you can play a matrix
> > > > keyboard without having to constantly look at it to know where you are.
> > > > >
> > > > > "I would LOVE to map some keys to sweep filters, and leave other keys as notes
> > > > to trigger the sounds feeding through the filter. This WOULD be the funkiest
> > > > microtonal thing ever!"
> > > > >
> > > > >
> > > > > The product designers who built the only 2 working prototypes are ready to
> > > > take a 20-pieces order. The first one is mine, so there are 19 "available". The
> > > > culprit is, it cannot go into production unless there are at least 20 buyers.
> > > > >
> > > > > Price: 2189 USD / 1789 EUR
> > > > >
> > > > > Alternatives:
> > > > > C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> > > > > Opal Gecko - 3749 USD / 3060 EUR
> > > > > StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
> > > > >
> > > >
> > >
> >
>

🔗Bill Sethares <sethares@...>

🔗Carl Lumma <carl@...>

I am amazed he could build such a machine for such a low
price in lots as small as 20, or even at all. One pays as
much for a crappy Roland or something with only 88 keys
and cheap velocity sensors!

I've been shocked before at how thrifty microtonalists
seem to be. They'll spend XXXX hours typing text to a
mailing list without earning a dime, but $2000 for a
keyboard instrument of historical significance is somehow
deemed excessive.

At the U.S. minimum wage of $7.25/hr, this represents
something like 2 months of full-time wages. Elsewhere I
see musicians with expensive microphones, mixers, guitar
amps, etc...

-Carl

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> Yes Mike and Carl, my bad.
>
> The Terpstra List:
> 01. Bogdan
> 02. Carl Lumma
> 03. hstraub64
> 04. Joey Di Nardo
>
> --- In tuning@yahoogroups.com, "Carl Lumma" <carl@> wrote:
> >
> > Um, pardon
> >
> > > The Terpstra List:
> > > 01. Bogdan (me)
> > > 02. Carl Lumma
> > > 03. hstraub64
> > > 04. Joey Di Nardo
> >
> > -Carl
> >
> > --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> > >
> > > Yes, you are in.
> > >
> > > The Terpstra List:
> > > 01. Bogdan (me)
> > > 02. hstraub64
> > > 03. Joey Di Nardo
> >
> > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > >
> > > > Just to make sure: you have added me to the list, right?
> > > >
> > > > --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> > > > >
> > > > > REPLY TO ALL (coming back from vacation).
> > > > >
> > > > > First of all an UPDATE on the alternatives: StarrLabs MicroZone U-648 is 8995 USD / 7365 EUR! You can check this on their homepage:
> > > > > http://www.starrlabs.com/index.php?route=product/product&path=69/microzone-u-648&product_id=66
> > > > >
> > > > > We are now 3 interested, 17 to go.
> > > > >
> > > > >
> > > > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > > > >
> > > > > > Errm, you are putting me into troubles... How long is this offer valid? (In case I would think about it...)
> > > > > >
> > > > > > And speaking of re-mappability: do you know how exactly this thing is remappable? Especially whether it is possible to map each key to an individual MIDI channel (to cope with synths that allow only per-octave retuning)?
> > > > > >
> > > > >
> > > > > This offer is valid until we are 20 persons commited to buy. If we are willing to wait and not change our minds until we are 20, then the offer is simply ongoing.
> > > > >
> > > > > I would say it is possible to map each key to an individual MIDI channel. If the general MIDI specifications allow this, then it is for sure.
> > > > >
> > > > > I will post by the end of the day, in the Facebook group, pictures with common layouts for 12-note tunings (Halberstadt/Janko, Tonnetz/Wicky-Hayden, Harmonic Table/Sonome).
> > > > > https://www.facebook.com/media/set/?set=oa.10150998052409482
> > > > >
> > > > >
> > > > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > > > >
> > > > > > Bogdan, WHERE CAN I ORDER THIS?!
> > > > >
> > > > > This cannot be ordered anywhere, as it is not in production. I am personally speaking with the builder - the one who built the first 2 prototypes - and we're going to make more. But he cannot build less than 20 at once.
> > > > >
> > > > >
> > > > > --- In tuning@yahoogroups.com, Joey Di Nardo <username652719@> wrote:
> > > > > >
> > > > > > I must have one, count me a buyer!
> > > > > >
> > > > > > I'd also look forward to writing a Terpstra specific max patch we could all
> > > > > > use to play nicely with those retuning Kontakt scripts that are available.
> > > > > > Unless, of course, a max patch is already in the works.
> > > > > >
> > > > > > Best,
> > > > > >
> > > > > > Joey Di Nardo
> > > > > >
> > > > >
> > > > > Welcome aboard!
> > > > >
> > > > > The software for this project will be open source. I look forward to see the fruition of your ideea, as I am personally using Kontakt patches for my musical work.
> > > > >
> > > > >
> > > > > In order to gather all people in one place I will create a Indiegogo campaign. This is an all-or-nothing funding method. The ideea is to present the possibility of the project to interested people, who in turn will sign in for buying one with their credit cards. No money will change hands initially. When (and if) there are enough buyers interested so that we have our budget, the credit cards get charged and the money goes in the producer's account so he can start building the keyboard.
> > > > >
> > > > > Indiegogo is also our assurance that if started, the project will come to completion and we will receive our keyboards.
> > > > > http://www.indiegogo.com/
> > > > >
> > > > >
> > > > > WAITING TIME IS 6 MONTHS FROM THE DATE WHEN FUNDING IS COMPLETE.
> > > > > With an October 2012 start:
> > > > > 1 month to revise drawings
> > > > > 1 month for production liason
> > > > > 1 month for tooling and PCB verification (would need to build 1 set with current vendors and verify everything is done properly prior to engaging in complete run of 20 boards, which is actually 100 boards as each keyboard contains 5 large PCBs)
> > > > > 6-8 weeks to complete production on first 20
> > > > > Add buffer of 4-6 weeks for unforeseen issues
> > > > > TOTAL: ~ 6 months
> > > > >
> > > > >
> > > > > > Would you be interested in a limited-edition, not-in-production generalised
> > > > > keyboard?
> > > > > >
> > > > > >
> > > > > > Layout: matrix, 2D hexagonal, completely generalised. The geometry of the
> > > > > Terpstra keyboard layout is characterized by a vertical shift in position
> > > > > between the top surface of a key and the six keys adjacent to it. This results
> > > > > in an intuitive feel for changes in pitch as your fingers move across the
> > > > > keyboard.
> > > > > >
> > > > > > Each key has a removable magnetic key cap, so different colored or labeled key
> > > > > caps can be easily swapped around when you re-map the keys to a different scale.
> > > > > >
> > > > > > "The main difference with our keyboard is the expressivity allowed by the
> > > > > mechanical action of the keys, which is completely different from other similar
> > > > > keyboards that had been produced in the past."
> > > > > >
> > > > > > The key sensing for the Terpstra is one of a kind because the electronics
> > > > > constantly monitor the position of every key by magnetically sensing for the
> > > > > whole key throw (not by triggering switches at the bottom of the key press and
> > > > > measuring the time differential). When a key is depressed, the entire change in
> > > > > position is monitored and translated to a very accurate and nuanced velocity by
> > > > > the time the key hits the bottom.
> > > > > >
> > > > > > "I am a keyboard player and the feel of the Terpstra was really exceptional
> > > > > and had very expressive touch that was lighter but much like a real piano, only
> > > > > faster."
> > > > > >
> > > > > > Every key is easily re-mappable and if mapped to a continuous controller, then
> > > > > slowly depressing any re-mapped key sends out continuous data like a fader in
> > > > > real time. It does all of this with no latency.
> > > > > >
> > > > > > "Upon seeing it, I could immediately appreciate the manufacturing quality of
> > > > > this prototype â" well made thick aluminum case with a look and solidity that
> > > > > is reminiscent of Apple G5 and 8-core towers."
> > > > > >
> > > > > > Keyboards take a huge amount of abuse during live performance. This one is a
> > > > > precision machine built like a tank; it can withstand the constant pounding of
> > > > > an energetic concert performance.
> > > > > >
> > > > > > This innovative and quality controller has a key layout that, unlike the
> > > > > Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a
> > > > > slightly different height â" which when combined with the irregular shape of
> > > > > the front row of keys, allows you to feel where your hands are on the keys
> > > > > without looking. This means that for the first time you can play a matrix
> > > > > keyboard without having to constantly look at it to know where you are.
> > > > > >
> > > > > > "I would LOVE to map some keys to sweep filters, and leave other keys as notes
> > > > > to trigger the sounds feeding through the filter. This WOULD be the funkiest
> > > > > microtonal thing ever!"
> > > > > >
> > > > > >
> > > > > > The product designers who built the only 2 working prototypes are ready to
> > > > > take a 20-pieces order. The first one is mine, so there are 19 "available". The
> > > > > culprit is, it cannot go into production unless there are at least 20 buyers.
> > > > > >
> > > > > > Price: 2189 USD / 1789 EUR
> > > > > >
> > > > > > Alternatives:
> > > > > > C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> > > > > > Opal Gecko - 3749 USD / 3060 EUR
> > > > > > StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
> > > > > >
> > > > >
> > > >
> > >
> >
>

🔗Carl Lumma <carl@...>

🔗Mike Battaglia <battaglia01@...>

How I love it when people with a lot of money tell people without a lot of
money to spend more money. :|

Before I even consider buying this, is this something I should be able to
expect to be able to plug in and get several octaves worth of porcupine
with an APS layout without running off the edge of the board?

-Mike

On Aug 18, 2012, at 3:14 PM, Carl Lumma <carl@lumma.org> wrote:

I am amazed he could build such a machine for such a low
price in lots as small as 20, or even at all. One pays as
much for a crappy Roland or something with only 88 keys
and cheap velocity sensors!

At the U.S. minimum wage of $7.25/hr, this represents
something like 2 months of full-time wages. Elsewhere I
see musicians with expensive microphones, mixers, guitar
amps, etc...

-Carl

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> Yes Mike and Carl, my bad.
>
> The Terpstra List:
> 01. Bogdan
> 02. Carl Lumma
> 03. hstraub64
> 04. Joey Di Nardo
>
> --- In tuning@yahoogroups.com, "Carl Lumma" <carl@> wrote:
> >
> > Um, pardon
> >
> > > The Terpstra List:
> > > 01. Bogdan (me)
> > > 02. Carl Lumma
> > > 03. hstraub64
> > > 04. Joey Di Nardo
> >
> > -Carl
> >
> > --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> > >
> > > Yes, you are in.
> > >
> > > The Terpstra List:
> > > 01. Bogdan (me)
> > > 02. hstraub64
> > > 03. Joey Di Nardo
> >
> > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > >
> > > > Just to make sure: you have added me to the list, right?
> > > >
> > > > --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> > > > >
> > > > > REPLY TO ALL (coming back from vacation).
> > > > >
> > > > > First of all an UPDATE on the alternatives: StarrLabs MicroZone
U-648 is 8995 USD / 7365 EUR! You can check this on their homepage:
> > > > >
http://www.starrlabs.com/index.php?route=product/product&path=69/microzone-u-648&product_id=66
> > > > >
> > > > > We are now 3 interested, 17 to go.
> > > > >
> > > > >
> > > > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > > > >
> > > > > > Errm, you are putting me into troubles... How long is this
offer valid? (In case I would think about it...)
> > > > > >
> > > > > > And speaking of re-mappability: do you know how exactly this
thing is remappable? Especially whether it is possible to map each key to
an individual MIDI channel (to cope with synths that allow only per-octave
retuning)?
> > > > > >
> > > > >
> > > > > This offer is valid until we are 20 persons commited to buy. If
we are willing to wait and not change our minds until we are 20, then the
offer is simply ongoing.
> > > > >
> > > > > I would say it is possible to map each key to an individual MIDI
channel. If the general MIDI specifications allow this, then it is for sure.
> > > > >
> > > > > I will post by the end of the day, in the Facebook group,
pictures with common layouts for 12-note tunings (Halberstadt/Janko,
Tonnetz/Wicky-Hayden, Harmonic Table/Sonome).
> > > > > https://www.facebook.com/media/set/?set=oa.10150998052409482
> > > > >
> > > > >
> > > > > --- In tuning@yahoogroups.com, "hstraub64" <straub@> wrote:
> > > > > >
> > > > > > Bogdan, WHERE CAN I ORDER THIS?!
> > > > >
> > > > > This cannot be ordered anywhere, as it is not in production. I am
personally speaking with the builder - the one who built the first 2
prototypes - and we're going to make more. But he cannot build less than 20
at once.
> > > > >
> > > > >
> > > > > --- In tuning@yahoogroups.com, Joey Di Nardo <username652719@>
wrote:
> > > > > >
> > > > > > I must have one, count me a buyer!
> > > > > >
> > > > > > I'd also look forward to writing a Terpstra specific max patch
we could all
> > > > > > use to play nicely with those retuning Kontakt scripts that are
available.
> > > > > > Unless, of course, a max patch is already in the works.
> > > > > >
> > > > > > Best,
> > > > > >
> > > > > > Joey Di Nardo
> > > > > >
> > > > >
> > > > > Welcome aboard!
> > > > >
> > > > > The software for this project will be open source. I look forward
to see the fruition of your ideea, as I am personally using Kontakt patches
for my musical work.
> > > > >
> > > > >
> > > > > In order to gather all people in one place I will create a
Indiegogo campaign. This is an all-or-nothing funding method. The ideea is
to present the possibility of the project to interested people, who in turn
will sign in for buying one with their credit cards. No money will change
hands initially. When (and if) there are enough buyers interested so that
we have our budget, the credit cards get charged and the money goes in the
producer's account so he can start building the keyboard.
> > > > >
> > > > > Indiegogo is also our assurance that if started, the project will
come to completion and we will receive our keyboards.
> > > > > http://www.indiegogo.com/
> > > > >
> > > > >
> > > > > WAITING TIME IS 6 MONTHS FROM THE DATE WHEN FUNDING IS COMPLETE.
> > > > > With an October 2012 start:
> > > > > 1 month to revise drawings
> > > > > 1 month for production liason
> > > > > 1 month for tooling and PCB verification (would need to build 1
set with current vendors and verify everything is done properly prior to
engaging in complete run of 20 boards, which is actually 100 boards as each
keyboard contains 5 large PCBs)
> > > > > 6-8 weeks to complete production on first 20
> > > > > Add buffer of 4-6 weeks for unforeseen issues
> > > > > TOTAL: ~ 6 months
> > > > >
> > > > >
> > > > > > Would you be interested in a limited-edition, not-in-production
generalised
> > > > > keyboard?
> > > > > >
> > > > > >
> > > > > > Layout: matrix, 2D hexagonal, completely generalised. The
geometry of the
> > > > > Terpstra keyboard layout is characterized by a vertical shift in
position
> > > > > between the top surface of a key and the six keys adjacent to it.
This results
> > > > > in an intuitive feel for changes in pitch as your fingers move
across the
> > > > > keyboard.
> > > > > >
> > > > > > Each key has a removable magnetic key cap, so different colored
or labeled key
> > > > > caps can be easily swapped around when you re-map the keys to a
different scale.
> > > > > >
> > > > > > "The main difference with our keyboard is the expressivity
allowed by the
> > > > > mechanical action of the keys, which is completely different from
other similar
> > > > > keyboards that had been produced in the past."
> > > > > >
> > > > > > The key sensing for the Terpstra is one of a kind because the
electronics
> > > > > constantly monitor the position of every key by magnetically
sensing for the
> > > > > whole key throw (not by triggering switches at the bottom of the
key press and
> > > > > measuring the time differential). When a key is depressed, the
entire change in
> > > > > position is monitored and translated to a very accurate and
nuanced velocity by
> > > > > the time the key hits the bottom.
> > > > > >
> > > > > > "I am a keyboard player and the feel of the Terpstra was really
exceptional
> > > > > and had very expressive touch that was lighter but much like a
real piano, only
> > > > > faster."
> > > > > >
> > > > > > Every key is easily re-mappable and if mapped to a continuous
controller, then
> > > > > slowly depressing any re-mapped key sends out continuous data
like a fader in
> > > > > real time. It does all of this with no latency.
> > > > > >
> > > > > > "Upon seeing it, I could immediately appreciate the
manufacturing quality of
> > > > > this prototype â€" well made thick aluminum case with a look and
solidity that
> > > > > is reminiscent of Apple G5 and 8-core towers."
> > > > > >
> > > > > > Keyboards take a huge amount of abuse during live performance.
This one is a
> > > > > precision machine built like a tank; it can withstand the
constant pounding of
> > > > > an energetic concert performance.
> > > > > >
> > > > > > This innovative and quality controller has a key layout that,
unlike the
> > > > > Bosanquet, JankÃ³ and other generalized/isomorphic keyboards,
puts each key at a
> > > > > slightly different height â€" which when combined with the
irregular shape of
> > > > > the front row of keys, allows you to feel where your hands are on
the keys
> > > > > without looking. This means that for the first time you can play
a matrix
> > > > > keyboard without having to constantly look at it to know where
you are.
> > > > > >
> > > > > > "I would LOVE to map some keys to sweep filters, and leave
other keys as notes
> > > > > to trigger the sounds feeding through the filter. This WOULD be
the funkiest
> > > > > microtonal thing ever!"
> > > > > >
> > > > > >
> > > > > > The product designers who built the only 2 working prototypes
are ready to
> > > > > take a 20-pieces order. The first one is mine, so there are 19
"available". The
> > > > > culprit is, it cannot go into production unless there are at
least 20 buyers.
> > > > > >
> > > > > > Price: 2189 USD / 1789 EUR
> > > > > >
> > > > > > Alternatives:
> > > > > > C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> > > > > > Opal Gecko - 3749 USD / 3060 EUR
> > > > > > StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
> > > > > >
> > > > >
> > > >
> > >
> >
>

🔗Carl Lumma <carl@...>

🔗Graham Breed <gbreed@...>

🔗Carl Lumma <carl@...>

🔗AWolf <wolftune@...>

WOW! That price goes from completely not even an option (I thought I remembered these at $10k) to a good deal.

I'm tempted to sign on to the group buy.

I do have some questions:

If I understand right, the continuous controller parts of the Terpstra mean that I could even send control messages to something like a pitch-change effect to create expressive bending of pitch right? Like I could effectively make a patch where the pitch glides up into being in tune, and it would glide up as I press the keys down and then come into pitch at the end when fully depressed? What about vibrato? Would it be easy enough to press down and partially release to create a vibrato effect, like one could do with aftertouch? So is it possible to achieve an aftertouch-like effect where velocity sensitivity still exists but controller data can be sent as well?
Or is it more like any key is either a controller or a velocity-sensitive key?
Or could it at least be set to play pitches and still respond in some way after the onset, like back away to fade out or in?

Also, are there any good discussions of how this compares to the Axis or Opal? I haven't played on those, but I have the feeling that they aren't the most satisfying response for dynamism, even though they are better than the non-touch-sensitivity of my Tonal Plexus.

I still have the problems that trying to set up all this gear, just even with what I already have, there's no time for everythingâ¦ I really am trying to support Free Software, with the political ideals behind it, so I'm trying to make everything work with a GNU/Linux focus. If this would be doable enough, I'd really consider it. I haven't figured out Scala or the other options in GNU/Linux yet, although the H-Pi software runs under WINE.

-Aaron Wolf
wolftune.com

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> --- This is a double post from
> --- "The Xenharmonic Alliance" Facebook Group.
> --- To see the pictures, follow the link:
> --- https://www.facebook.com/media/set/?set=oa.10150998052409482
>
>
> Would you be interested in a limited-edition, not-in-production generalised keyboard?
>
>
> Layout: matrix, 2D hexagonal, completely generalised. The geometry of the Terpstra keyboard layout is characterized by a vertical shift in position between the top surface of a key and the six keys adjacent to it. This results in an intuitive feel for changes in pitch as your fingers move across the keyboard.
>
> Each key has a removable magnetic key cap, so different colored or labeled key caps can be easily swapped around when you re-map the keys to a different scale.
>
> "The main difference with our keyboard is the expressivity allowed by the mechanical action of the keys, which is completely different from other similar keyboards that had been produced in the past."
>
> The key sensing for the Terpstra is one of a kind because the electronics constantly monitor the position of every key by magnetically sensing for the whole key throw (not by triggering switches at the bottom of the key press and measuring the time differential). When a key is depressed, the entire change in position is monitored and translated to a very accurate and nuanced velocity by the time the key hits the bottom.
>
> "I am a keyboard player and the feel of the Terpstra was really exceptional and had very expressive touch that was lighter but much like a real piano, only faster."
>
> Every key is easily re-mappable and if mapped to a continuous controller, then slowly depressing any re-mapped key sends out continuous data like a fader in real time. It does all of this with no latency.
>
> "Upon seeing it, I could immediately appreciate the manufacturing quality of this prototype ï¿½" well made thick aluminum case with a look and solidity that is reminiscent of Apple G5 and 8-core towers."
>
> Keyboards take a huge amount of abuse during live performance. This one is a precision machine built like a tank; it can withstand the constant pounding of an energetic concert performance.
>
> This innovative and quality controller has a key layout that, unlike the Bosanquet, JankÃ³ and other generalized/isomorphic keyboards, puts each key at a slightly different height ï¿½" which when combined with the irregular shape of the front row of keys, allows you to feel where your hands are on the keys without looking. This means that for the first time you can play a matrix keyboard without having to constantly look at it to know where you are.
>
> "I would LOVE to map some keys to sweep filters, and leave other keys as notes to trigger the sounds feeding through the filter. This WOULD be the funkiest microtonal thing ever!"
>
>
> The product designers who built the only 2 working prototypes are ready to take a 20-pieces order. The first one is mine, so there are 19 "available". The culprit is, it cannot go into production unless there are at least 20 buyers.
>
> Price: 2189 USD / 1789 EUR
>
> Alternatives:
> C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> Opal Gecko - 3749 USD / 3060 EUR
> StarrLabs MicroZone U-648 - 3995 USD / 3261 EUR
>

🔗Carl Lumma <carl@...>

Hi Aaron,

The keyboard's designer, Dylan Horvath, used to be a member
here. Maybe he'll catch this and chime in.

I've posted some key facts about the design he shared with
me over the years, here
https://www.facebook.com/groups/xenharmonic/permalink/10151039930029482/

Additionally, I'll try to answer your questions below...

> If I understand right, the continuous controller parts of the
> Terpstra mean that I could even send control messages to
> something like a pitch-change effect to create expressive bending
> of pitch right? Like I could effectively make a patch where the
> pitch glides up into being in tune, and it would glide up as I
> press the keys down and then come into pitch at the end when
> fully depressed?

Yes. Any MIDI continuous controller can do this when attached
to a synth configured to respond this way. The difference is,
one does not normally have access to an array of 276 tiny
continuous controllers.

> What about vibrato? Would it be easy enough to
> press down and partially release to create a vibrato effect,
> like one could do with aftertouch?

I haven't played the keyboard. Whether a convincing vibrato
(as we normally think of it in music) would be easy/comfortable
to produce this way depends on the physical and MIDI response
of its keys. Generally, pressure controllers are easier to
make vibrato with. But it is possible.

> So is it possible to achieve an aftertouch-like effect where
> velocity sensitivity still exists but controller data can be
> sent as well?
> Or is it more like any key is either a controller or a velocity-
> sensitive key?
> Or could it at least be set to play pitches and still respond
> in some way after the onset, like back away to fade out or in?

I don't know. My guess would be either/or on the keyboard.
But with some of the more powerful software synths, like Kyma
or Max/MSP, it should be possible to do this with the keyboard
in CC mode. The synth would time, say, the first 1/2 of the
keystroke and compute a velocity, then trigger the note and
have the remaining 1/2 of the stroke for pitch bend.

> Also, are there any good discussions of how this compares to
> the Axis or Opal? I haven't played on those, but I have the
> feeling that they aren't the most satisfying response for
> dynamism, even though they are better than the non-touch-
> sensitivity of my Tonal Plexus.

I wonder if anyone on the planet has played both... I've played
an Axis and a Tonal Plexus, and I agree with your descriptions
of those. The Opal's keys are the same size/shape/layout as
the Axis', but are "weighted". The inventor has not provided
details on how the weighting is achieved. List member Carlo
Serafini has an Opal (and has recorded beautiful music with it).
He tends to be more active on the MMM list and on facebook.

-Carl

🔗Bogdan <baros_ilogic@...>

🔗AWolf <wolftune@...>

Alright, I'm in! Count me in the list. I was playing with Hex layouts on this: http://www.tuningbell.com/isokeys

And I just decided that it's nice enough that I'll go for it and want a real instrument that can be played more dynamically. I just hope everyone who gets this works on helping to get tunings and set up stuff so I don't have to set up all the things myself. And I'd especially like setups that will be functional with GNU/Linux synths

Cheers,
Aaron

--- In tuning@yahoogroups.com, "Carl Lumma" <carl@...> wrote:
>
> Hi Aaron,
>
> The keyboard's designer, Dylan Horvath, used to be a member
> here. Maybe he'll catch this and chime in.
>
> I've posted some key facts about the design he shared with
> me over the years, here
> https://www.facebook.com/groups/xenharmonic/permalink/10151039930029482/
>
> Additionally, I'll try to answer your questions below...
>
> > If I understand right, the continuous controller parts of the
> > Terpstra mean that I could even send control messages to
> > something like a pitch-change effect to create expressive bending
> > of pitch right? Like I could effectively make a patch where the
> > pitch glides up into being in tune, and it would glide up as I
> > press the keys down and then come into pitch at the end when
> > fully depressed?
>
> Yes. Any MIDI continuous controller can do this when attached
> to a synth configured to respond this way. The difference is,
> one does not normally have access to an array of 276 tiny
> continuous controllers.
>
> > What about vibrato? Would it be easy enough to
> > press down and partially release to create a vibrato effect,
> > like one could do with aftertouch?
>
> I haven't played the keyboard. Whether a convincing vibrato
> (as we normally think of it in music) would be easy/comfortable
> to produce this way depends on the physical and MIDI response
> of its keys. Generally, pressure controllers are easier to
> make vibrato with. But it is possible.
>
> > So is it possible to achieve an aftertouch-like effect where
> > velocity sensitivity still exists but controller data can be
> > sent as well?
> > Or is it more like any key is either a controller or a velocity-
> > sensitive key?
> > Or could it at least be set to play pitches and still respond
> > in some way after the onset, like back away to fade out or in?
>
> I don't know. My guess would be either/or on the keyboard.
> But with some of the more powerful software synths, like Kyma
> or Max/MSP, it should be possible to do this with the keyboard
> in CC mode. The synth would time, say, the first 1/2 of the
> keystroke and compute a velocity, then trigger the note and
> have the remaining 1/2 of the stroke for pitch bend.
>
> > Also, are there any good discussions of how this compares to
> > the Axis or Opal? I haven't played on those, but I have the
> > feeling that they aren't the most satisfying response for
> > dynamism, even though they are better than the non-touch-
> > sensitivity of my Tonal Plexus.
>
> I wonder if anyone on the planet has played both... I've played
> an Axis and a Tonal Plexus, and I agree with your descriptions
> of those. The Opal's keys are the same size/shape/layout as
> the Axis', but are "weighted". The inventor has not provided
> details on how the weighting is achieved. List member Carlo
> Serafini has an Opal (and has recorded beautiful music with it).
> He tends to be more active on the MMM list and on facebook.
>
> -Carl
>

🔗AWolf <wolftune@...>

🔗hstraub64 <straub@...>

Here are some thought about the question raised by Bogdan in the Facebook group, about possible layouts of the Terpstra keyboard for oriental/indian music.

As for middle-eastern (maqam) music, I have learned that a decent tuning for maqams requires, beside a minor and a major second, at least two kinds of neutral seconds, a smaller one for the Bayati tetrachord and a larger one for the Rast tetrachord. Moreover, the major second should be a "major" wholetone, while the minor second should be a "small" semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome). A good key layout for maqam tunings I would define as one where all these 4 types of seconds are "easily available" (whatever that means).

I had a look at 53edo, which is one of the EDOs that are often recommended for middle-eastern (and also indian) music). Then, the key intervals above are (according to http://www.alsiadi.com/maqamat.html) rendered as 4, 6, 7 and 9 steps. (The apotome as 9-4=5 steps). Now I tried to find a layout where these 4 intervals are as close together as possible. Unfortunately, I found that there is no solution where all intervals are not more than 2 steps apart - it always takes 3 steps for at least one interval.

I just posted one proposal for a 53edo layout for the Terpstra keyboard. It places 4 steps (limma), 5 steps (apotome and its difference 1 step (syntonic comma). The wholoetone and the smaller neutral second are two steps away while the larger neutrla second (for the Rast scale) needs 3 steps. I added some note names according to the pythagorean tuning and colorings for the Rast and the Bayati tetrachord.

File is here:
/tuning/files/hstraub64/Terpstra%2053edo1.png

I think this is a workable layout for oriental melodic stuff - less so for harmony. And 53edo anyway has already so terrible many notes - the whole large Terpstra keyboard hardly spans 3 octaves here...

For this reason, I also had a look at 41edo, mentioned by Ozan Yarman as a possible EDO for maqams. Here the limma is rendered as 3 steps, the apotome as 4 steps, the two neutral seconds as 5 and 6 steps and the major wholetone as 7 steps. Applying the analogous layout as sketched above for 53edo gives 3 steps, 4 steps and its difference 1 step as primary axes, and here it comes out that all important intervals can be reached with at most 2 steps.

Point is here, however, that the larger neutral seconds (6 steps) can also be seen as a minor wholetone, and, playing the Rast maqam with it, the third note is less a neutral third than a 5/4-style major third. I have learned that the turkish variant of Rast indeed has such a third - the arabic variant, however, is lower. So I would conclude that 41edo is a good tuning for turkish music (and so may be the sketched layout for the Terpstra keyboard) but less so for arabic music.

🔗kraiggrady <kraiggrady@...>

🔗hstraub64 <straub@...>

🔗Bogdan <baros_ilogic@...>

Congratulations to Aaron and Kalle! The Terpstra List:

01. Bogdan
02. Carl Lumma
03. hstraub64
04. Joey Di Nardo
05. Bill Sethares
06. Aaron Wolf
07. Kalle Aho

All on the list, please send me a message with your email adress and the desired location of delivery (city & country) so I can plan shipping details.

Thanks in advance
Bogdan

--- In tuning@yahoogroups.com, "AWolf" <wolftune@...> wrote:
>
> Alright, I'm in! Count me in the list. I was playing with Hex layouts on this: http://www.tuningbell.com/isokeys
>
> And I just decided that it's nice enough that I'll go for it and want a real instrument that can be played more dynamically. I just hope everyone who gets this works on helping to get tunings and set up stuff so I don't have to set up all the things myself. And I'd especially like setups that will be functional with GNU/Linux synthsï¿½
>
> Cheers,
> Aaron
>
> --- In tuning@yahoogroups.com, "Carl Lumma" <carl@> wrote:
> >
> > Hi Aaron,
> >
> > The keyboard's designer, Dylan Horvath, used to be a member
> > here. Maybe he'll catch this and chime in.
> >
> > I've posted some key facts about the design he shared with
> > me over the years, here
> > https://www.facebook.com/groups/xenharmonic/permalink/10151039930029482/
> >
> > Additionally, I'll try to answer your questions below...
> >
> > > If I understand right, the continuous controller parts of the
> > > Terpstra mean that I could even send control messages to
> > > something like a pitch-change effect to create expressive bending
> > > of pitch right? Like I could effectively make a patch where the
> > > pitch glides up into being in tune, and it would glide up as I
> > > press the keys down and then come into pitch at the end when
> > > fully depressed?
> >
> > Yes. Any MIDI continuous controller can do this when attached
> > to a synth configured to respond this way. The difference is,
> > one does not normally have access to an array of 276 tiny
> > continuous controllers.
> >
> > > What about vibrato? Would it be easy enough to
> > > press down and partially release to create a vibrato effect,
> > > like one could do with aftertouch?
> >
> > I haven't played the keyboard. Whether a convincing vibrato
> > (as we normally think of it in music) would be easy/comfortable
> > to produce this way depends on the physical and MIDI response
> > of its keys. Generally, pressure controllers are easier to
> > make vibrato with. But it is possible.
> >
> > > So is it possible to achieve an aftertouch-like effect where
> > > velocity sensitivity still exists but controller data can be
> > > sent as well?
> > > Or is it more like any key is either a controller or a velocity-
> > > sensitive key?
> > > Or could it at least be set to play pitches and still respond
> > > in some way after the onset, like back away to fade out or in?
> >
> > I don't know. My guess would be either/or on the keyboard.
> > But with some of the more powerful software synths, like Kyma
> > or Max/MSP, it should be possible to do this with the keyboard
> > in CC mode. The synth would time, say, the first 1/2 of the
> > keystroke and compute a velocity, then trigger the note and
> > have the remaining 1/2 of the stroke for pitch bend.
> >
> > > Also, are there any good discussions of how this compares to
> > > the Axis or Opal? I haven't played on those, but I have the
> > > feeling that they aren't the most satisfying response for
> > > dynamism, even though they are better than the non-touch-
> > > sensitivity of my Tonal Plexus.
> >
> > I wonder if anyone on the planet has played both... I've played
> > an Axis and a Tonal Plexus, and I agree with your descriptions
> > of those. The Opal's keys are the same size/shape/layout as
> > the Axis', but are "weighted". The inventor has not provided
> > details on how the weighting is achieved. List member Carlo
> > Serafini has an Opal (and has recorded beautiful music with it).
> > He tends to be more active on the MMM list and on facebook.
> >
> > -Carl
> >
>

🔗Bogdan <baros_ilogic@...>

Send the message to:
bogdan.dk [at) facebook dot com

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> Congratulations to Aaron and Kalle! The Terpstra List:
>
> 01. Bogdan
> 02. Carl Lumma
> 03. hstraub64
> 04. Joey Di Nardo
> 05. Bill Sethares
> 06. Aaron Wolf
> 07. Kalle Aho
>
> All on the list, please send me a message with your email adress and the desired location of delivery (city & country) so I can plan shipping details.
>
> Thanks in advance
> Bogdan
>
>
> --- In tuning@...m, "AWolf" <wolftune@> wrote:
> >
> > Alright, I'm in! Count me in the list. I was playing with Hex layouts on this: http://www.tuningbell.com/isokeys
> >
> > And I just decided that it's nice enough that I'll go for it and want a real instrument that can be played more dynamically. I just hope everyone who gets this works on helping to get tunings and set up stuff so I don't have to set up all the things myself. And I'd especially like setups that will be functional with GNU/Linux synthsï¿½
> >
> > Cheers,
> > Aaron
> >
> > --- In tuning@yahoogroups.com, "Carl Lumma" <carl@> wrote:
> > >
> > > Hi Aaron,
> > >
> > > The keyboard's designer, Dylan Horvath, used to be a member
> > > here. Maybe he'll catch this and chime in.
> > >
> > > I've posted some key facts about the design he shared with
> > > me over the years, here
> > > https://www.facebook.com/groups/xenharmonic/permalink/10151039930029482/
> > >
> > > Additionally, I'll try to answer your questions below...
> > >
> > > > If I understand right, the continuous controller parts of the
> > > > Terpstra mean that I could even send control messages to
> > > > something like a pitch-change effect to create expressive bending
> > > > of pitch right? Like I could effectively make a patch where the
> > > > pitch glides up into being in tune, and it would glide up as I
> > > > press the keys down and then come into pitch at the end when
> > > > fully depressed?
> > >
> > > Yes. Any MIDI continuous controller can do this when attached
> > > to a synth configured to respond this way. The difference is,
> > > one does not normally have access to an array of 276 tiny
> > > continuous controllers.
> > >
> > > > What about vibrato? Would it be easy enough to
> > > > press down and partially release to create a vibrato effect,
> > > > like one could do with aftertouch?
> > >
> > > I haven't played the keyboard. Whether a convincing vibrato
> > > (as we normally think of it in music) would be easy/comfortable
> > > to produce this way depends on the physical and MIDI response
> > > of its keys. Generally, pressure controllers are easier to
> > > make vibrato with. But it is possible.
> > >
> > > > So is it possible to achieve an aftertouch-like effect where
> > > > velocity sensitivity still exists but controller data can be
> > > > sent as well?
> > > > Or is it more like any key is either a controller or a velocity-
> > > > sensitive key?
> > > > Or could it at least be set to play pitches and still respond
> > > > in some way after the onset, like back away to fade out or in?
> > >
> > > I don't know. My guess would be either/or on the keyboard.
> > > But with some of the more powerful software synths, like Kyma
> > > or Max/MSP, it should be possible to do this with the keyboard
> > > in CC mode. The synth would time, say, the first 1/2 of the
> > > keystroke and compute a velocity, then trigger the note and
> > > have the remaining 1/2 of the stroke for pitch bend.
> > >
> > > > Also, are there any good discussions of how this compares to
> > > > the Axis or Opal? I haven't played on those, but I have the
> > > > feeling that they aren't the most satisfying response for
> > > > dynamism, even though they are better than the non-touch-
> > > > sensitivity of my Tonal Plexus.
> > >
> > > I wonder if anyone on the planet has played both... I've played
> > > an Axis and a Tonal Plexus, and I agree with your descriptions
> > > of those. The Opal's keys are the same size/shape/layout as
> > > the Axis', but are "weighted". The inventor has not provided
> > > details on how the weighting is achieved. List member Carlo
> > > Serafini has an Opal (and has recorded beautiful music with it).
> > > He tends to be more active on the MMM list and on facebook.
> > >
> > > -Carl
> > >
> >
>

🔗Bogdan <baros_ilogic@...>

Thank you! I also did some research and found this:

In all the traditional modal systems, the intervals used musically are the same. The various divisions of the octave differ only because some methods take into account a greater number of intervals. Thus the notes of the pentatonic scale are five of the notes of the heptatonic scale, which can in turn be identified with seven of the degrees of the twelve-note scale, which are themselves twelve of the notes of the Arabic division into seventeen notes, which are identical to seventeen of the twenty-two srutis, all of which belong to the scale of fifty-three sounds.

The division of the octave into fifty-three intervals is only necessary to make these twenty-two different expressions coincide with perfect harmonic relations in the different modes.

All twenty-two divisions cannot be used simultaneously in a mode, or in any melodic or harmonic combination. At the most twelve, and at the least three notes are used, the normal number being seven.

The 22 come out from these:
1/1
81/80
256/243
16/15
10/9
9/8
32/27
6/5
5/4
81/64
4/3
27/20
45/32
64/45
40/27
3/2
128/81
8/5
5/3
27/16
16/9
9/5
15/8
243/128
160/81
2/1

81/80, 40/27 and 160/81 are in the list for symmetry's sake. A nice arrangement would be one of 24 notes, which will allow the player to join any group of eastern performers. Groovy!

--- In tuning@yahoogroups.com, "hstraub64" <straub@...> wrote:
>
> --- In tuning@yahoogroups.com, kraiggrady <kraiggrady@> wrote:
> >
> > There are a variety of layouts of mideast tunings on generalized
> > keyboards in this document.
> > http://anaphoria.com/RAST.PDF
> >
>
> Thanks for that!
>
> Hmm, yes, as far as I understand, there is just one layout in the document, and basically for 24edo, with 4 steps (major second) in one axis, 3 steps (neutral second) in the second axis and 7 steps (neutral third) in the third axis. This would be for a simplified maqam tuning system with just one size neutral second, right?
> --
> Hans Straub
>

🔗kraiggrady <kraiggrady@...>

🔗Carl Lumma <carl@...>

Graham Breed? -C.

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> Congratulations to Aaron and Kalle! The Terpstra List:
>
> 01. Bogdan
> 02. Carl Lumma
> 03. hstraub64
> 04. Joey Di Nardo
> 05. Bill Sethares
> 06. Aaron Wolf
> 07. Kalle Aho
>
> All on the list, please send me a message with your email adress and the desired location of delivery (city & country) so I can plan shipping details.
>
> Thanks in advance
> Bogdan
>
>
> --- In tuning@yahoogroups.com, "AWolf" <wolftune@> wrote:
> >
> > Alright, I'm in! Count me in the list. I was playing with Hex layouts on this: http://www.tuningbell.com/isokeys
> >
> > And I just decided that it's nice enough that I'll go for it and want a real instrument that can be played more dynamically. I just hope everyone who gets this works on helping to get tunings and set up stuff so I don't have to set up all the things myself. And I'd especially like setups that will be functional with GNU/Linux synthsï¿½
> >
> > Cheers,
> > Aaron
> >
> > --- In tuning@yahoogroups.com, "Carl Lumma" <carl@> wrote:
> > >
> > > Hi Aaron,
> > >
> > > The keyboard's designer, Dylan Horvath, used to be a member
> > > here. Maybe he'll catch this and chime in.
> > >
> > > I've posted some key facts about the design he shared with
> > > me over the years, here
> > > https://www.facebook.com/groups/xenharmonic/permalink/10151039930029482/
> > >
> > > Additionally, I'll try to answer your questions below...
> > >
> > > > If I understand right, the continuous controller parts of the
> > > > Terpstra mean that I could even send control messages to
> > > > something like a pitch-change effect to create expressive bending
> > > > of pitch right? Like I could effectively make a patch where the
> > > > pitch glides up into being in tune, and it would glide up as I
> > > > press the keys down and then come into pitch at the end when
> > > > fully depressed?
> > >
> > > Yes. Any MIDI continuous controller can do this when attached
> > > to a synth configured to respond this way. The difference is,
> > > one does not normally have access to an array of 276 tiny
> > > continuous controllers.
> > >
> > > > What about vibrato? Would it be easy enough to
> > > > press down and partially release to create a vibrato effect,
> > > > like one could do with aftertouch?
> > >
> > > I haven't played the keyboard. Whether a convincing vibrato
> > > (as we normally think of it in music) would be easy/comfortable
> > > to produce this way depends on the physical and MIDI response
> > > of its keys. Generally, pressure controllers are easier to
> > > make vibrato with. But it is possible.
> > >
> > > > So is it possible to achieve an aftertouch-like effect where
> > > > velocity sensitivity still exists but controller data can be
> > > > sent as well?
> > > > Or is it more like any key is either a controller or a velocity-
> > > > sensitive key?
> > > > Or could it at least be set to play pitches and still respond
> > > > in some way after the onset, like back away to fade out or in?
> > >
> > > I don't know. My guess would be either/or on the keyboard.
> > > But with some of the more powerful software synths, like Kyma
> > > or Max/MSP, it should be possible to do this with the keyboard
> > > in CC mode. The synth would time, say, the first 1/2 of the
> > > keystroke and compute a velocity, then trigger the note and
> > > have the remaining 1/2 of the stroke for pitch bend.
> > >
> > > > Also, are there any good discussions of how this compares to
> > > > the Axis or Opal? I haven't played on those, but I have the
> > > > feeling that they aren't the most satisfying response for
> > > > dynamism, even though they are better than the non-touch-
> > > > sensitivity of my Tonal Plexus.
> > >
> > > I wonder if anyone on the planet has played both... I've played
> > > an Axis and a Tonal Plexus, and I agree with your descriptions
> > > of those. The Opal's keys are the same size/shape/layout as
> > > the Axis', but are "weighted". The inventor has not provided
> > > details on how the weighting is achieved. List member Carlo
> > > Serafini has an Opal (and has recorded beautiful music with it).
> > > He tends to be more active on the MMM list and on facebook.
> > >
> > > -Carl
> > >
> >
>

🔗Bogdan <baros_ilogic@...>

Looks like I missed Graham, sorry for that. Dylan just confirmed Joel Mandelbaum's participation.

01. Bogdan Constantinescu
02. Carl Lumma
03. Hans Straub
04. Joey Di Nardo
05. Bill Sethares
08. Graham Breed
07. Aaron Wolf
08. Kalle Aho
09. Joel Mandelbaum

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> Send the message to:
> bogdan.dk [at) facebook dot com
>
> --- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@> wrote:
> >
> > Congratulations to Aaron and Kalle! The Terpstra List:
> >
> > 01. Bogdan
> > 02. Carl Lumma
> > 03. hstraub64
> > 04. Joey Di Nardo
> > 05. Bill Sethares
> > 06. Aaron Wolf
> > 07. Kalle Aho
> >
> > All on the list, please send me a message with your email adress and the desired location of delivery (city & country) so I can plan shipping details.
> >
> > Thanks in advance
> > Bogdan
> >
> >
> > --- In tuning@...m, "AWolf" <wolftune@> wrote:
> > >
> > > Alright, I'm in! Count me in the list. I was playing with Hex layouts on this: http://www.tuningbell.com/isokeys
> > >
> > > And I just decided that it's nice enough that I'll go for it and want a real instrument that can be played more dynamically. I just hope everyone who gets this works on helping to get tunings and set up stuff so I don't have to set up all the things myself. And I'd especially like setups that will be functional with GNU/Linux synthsï¿½
> > >
> > > Cheers,
> > > Aaron
> > >
> > > --- In tuning@yahoogroups.com, "Carl Lumma" <carl@> wrote:
> > > >
> > > > Hi Aaron,
> > > >
> > > > The keyboard's designer, Dylan Horvath, used to be a member
> > > > here. Maybe he'll catch this and chime in.
> > > >
> > > > I've posted some key facts about the design he shared with
> > > > me over the years, here
> > > > https://www.facebook.com/groups/xenharmonic/permalink/10151039930029482/
> > > >
> > > > Additionally, I'll try to answer your questions below...
> > > >
> > > > > If I understand right, the continuous controller parts of the
> > > > > Terpstra mean that I could even send control messages to
> > > > > something like a pitch-change effect to create expressive bending
> > > > > of pitch right? Like I could effectively make a patch where the
> > > > > pitch glides up into being in tune, and it would glide up as I
> > > > > press the keys down and then come into pitch at the end when
> > > > > fully depressed?
> > > >
> > > > Yes. Any MIDI continuous controller can do this when attached
> > > > to a synth configured to respond this way. The difference is,
> > > > one does not normally have access to an array of 276 tiny
> > > > continuous controllers.
> > > >
> > > > > What about vibrato? Would it be easy enough to
> > > > > press down and partially release to create a vibrato effect,
> > > > > like one could do with aftertouch?
> > > >
> > > > I haven't played the keyboard. Whether a convincing vibrato
> > > > (as we normally think of it in music) would be easy/comfortable
> > > > to produce this way depends on the physical and MIDI response
> > > > of its keys. Generally, pressure controllers are easier to
> > > > make vibrato with. But it is possible.
> > > >
> > > > > So is it possible to achieve an aftertouch-like effect where
> > > > > velocity sensitivity still exists but controller data can be
> > > > > sent as well?
> > > > > Or is it more like any key is either a controller or a velocity-
> > > > > sensitive key?
> > > > > Or could it at least be set to play pitches and still respond
> > > > > in some way after the onset, like back away to fade out or in?
> > > >
> > > > I don't know. My guess would be either/or on the keyboard.
> > > > But with some of the more powerful software synths, like Kyma
> > > > or Max/MSP, it should be possible to do this with the keyboard
> > > > in CC mode. The synth would time, say, the first 1/2 of the
> > > > keystroke and compute a velocity, then trigger the note and
> > > > have the remaining 1/2 of the stroke for pitch bend.
> > > >
> > > > > Also, are there any good discussions of how this compares to
> > > > > the Axis or Opal? I haven't played on those, but I have the
> > > > > feeling that they aren't the most satisfying response for
> > > > > dynamism, even though they are better than the non-touch-
> > > > > sensitivity of my Tonal Plexus.
> > > >
> > > > I wonder if anyone on the planet has played both... I've played
> > > > an Axis and a Tonal Plexus, and I agree with your descriptions
> > > > of those. The Opal's keys are the same size/shape/layout as
> > > > the Axis', but are "weighted". The inventor has not provided
> > > > details on how the weighting is achieved. List member Carlo
> > > > Serafini has an Opal (and has recorded beautiful music with it).
> > > > He tends to be more active on the MMM list and on facebook.
> > > >
> > > > -Carl
> > > >
> > >
> >
>

🔗Bogdan <baros_ilogic@...>

We are now officially 10.

01. Bogdan Constantinescu
02. Carl Lumma
03. Hans Straub
04. Joey Di Nardo
05. Bill Sethares
08. Graham Breed
07. Aaron Wolf
08. Kalle Aho
09. Joel Mandelbaum
10. Leonardo Riveros

Unofficially, we are 12 (awaiting confirmation). 8 to go, let's do this
before the end of the world! [:-B]

--- In tuning@yahoogroups.com, "Bogdan" <baros_ilogic@...> wrote:
>
> --- This is a double post from
> --- "The Xenharmonic Alliance" Facebook Group.
> --- To see the pictures, follow the link:
> --- https://www.facebook.com/media/set/?set=oa.10150998052409482
>
>
> Would you be interested in a limited-edition, not-in-production
generalised keyboard?
>
>
> Layout: matrix, 2D hexagonal, completely generalised. The geometry of
the Terpstra keyboard layout is characterized by a vertical shift in
position between the top surface of a key and the six keys adjacent to
it. This results in an intuitive feel for changes in pitch as your
fingers move across the keyboard.
>
> Each key has a removable magnetic key cap, so different colored or
labeled key caps can be easily swapped around when you re-map the keys
to a different scale.
>
> "The main difference with our keyboard is the expressivity allowed by
the mechanical action of the keys, which is completely different from
other similar keyboards that had been produced in the past."
>
> The key sensing for the Terpstra is one of a kind because the
electronics constantly monitor the position of every key by magnetically
sensing for the whole key throw (not by triggering switches at the
bottom of the key press and measuring the time differential). When a key
is depressed, the entire change in position is monitored and translated
to a very accurate and nuanced velocity by the time the key hits the
bottom.
>
> "I am a keyboard player and the feel of the Terpstra was really
exceptional and had very expressive touch that was lighter but much like
a real piano, only faster."
>
> Every key is easily re-mappable and if mapped to a continuous
controller, then slowly depressing any re-mapped key sends out
continuous data like a fader in real time. It does all of this with no
latency.
>
> "Upon seeing it, I could immediately appreciate the manufacturing
quality of this prototype ï¿½" well made thick aluminum case with a
look and solidity that is reminiscent of Apple G5 and 8-core towers."
>
> Keyboards take a huge amount of abuse during live performance. This
one is a precision machine built like a tank; it can withstand the
constant pounding of an energetic concert performance.
>
> This innovative and quality controller has a key layout that, unlike
the Bosanquet, JankÃ³ and other generalized/isomorphic keyboards,
puts each key at a slightly different height ï¿½" which when combined
with the irregular shape of the front row of keys, allows you to feel
where your hands are on the keys without looking. This means that for
the first time you can play a matrix keyboard without having to
constantly look at it to know where you are.
>
> "I would LOVE to map some keys to sweep filters, and leave other keys
as notes to trigger the sounds feeding through the filter. This WOULD be
the funkiest microtonal thing ever!"
>
>
> The product designers who built the only 2 working prototypes are
ready to take a 20-pieces order. The first one is mine, so there are 19
"available". The culprit is, it cannot go into production unless there
are at least 20 buyers.
>
> Price: 2189 USD / 1789 EUR
>
> Alternatives:
> C-Thru Music Axis 64 - 2312 USD / 1887 EUR
> Opal Gecko - 3749 USD / 3060 EUR
> StarrLabs MicroZone U-648 - 8995 USD / 7365 EUR
>

The Terpstra Keyboard - limited edition

🔗Bogdan <baros_ilogic@...>

🔗hstraub64 <straub@...>

🔗hstraub64 <straub@...>

🔗Joey Di Nardo <username652719@...>

🔗Bogdan <baros_ilogic@...>

🔗hstraub64 <straub@...>

🔗Bogdan <baros_ilogic@...>

🔗Mike Battaglia <battaglia01@...>

🔗Carl Lumma <carl@...>

🔗Bogdan <baros_ilogic@...>

🔗Bill Sethares <sethares@...>

🔗Carl Lumma <carl@...>

🔗Carl Lumma <carl@...>

🔗Mike Battaglia <battaglia01@...>

🔗Carl Lumma <carl@...>

🔗Carl Lumma <carl@...>

🔗Graham Breed <gbreed@...>

🔗Carl Lumma <carl@...>

🔗AWolf <wolftune@...>

🔗Carl Lumma <carl@...>

🔗Bogdan <baros_ilogic@...>

🔗AWolf <wolftune@...>

🔗AWolf <wolftune@...>

🔗hstraub64 <straub@...>

🔗kraiggrady <kraiggrady@...>

🔗hstraub64 <straub@...>

🔗Bogdan <baros_ilogic@...>

🔗Bogdan <baros_ilogic@...>

🔗Bogdan <baros_ilogic@...>

🔗kraiggrady <kraiggrady@...>

🔗Carl Lumma <carl@...>

🔗Bogdan <baros_ilogic@...>

🔗Bogdan <baros_ilogic@...>