deastman wrote: ↑
Sun Jul 21, 2019 7:04 pm
BONES wrote: ↑
Sun Jul 21, 2019 6:57 pm
Except that a lot of the time when you are playing more than one note, you want them all to respond together. e.g. If I'm playing a string chord at the end of a song and pitch-bend it down as the thing finishes (which I probably do way too often on stage), I want all the notes to pitch down together. Same with Mod Wheel stuff - in 30-odd years I've never wanted the Mod Wheel to only affect one of the notes I'm playing. It would be weird.
Precisely why I said that expressive controllers are far more useful for monophonic lines than for chords.
I hold a different view. In fact I could not disagree more. It's with chords where these controllers come to life for me. But of course, to get the best expression when playing chords and trying to articulate expressive gestures, requires practice and skill (rightly so).
I mean, we have always been able to get a lot of expression when playing monophonic lines. By using the standard controllers like mod+pitch wheels, pedals, breath controllers, etc, a monophonic instrument/line can be as alive as one would ever wish for. Conversely, it was never possible to do the same with polyphonic electronic instruments/sounds/chords until the advent of the new breed of MPE/5D midi controllers.
So, I can not understand why you would come to that conclusion.
Also, I can not agree with what BONES said:
Except that a lot of the time when you are playing more than one note, you want them all to respond together
I find the opposite. I want the chord to be fluid, with each note having the capacity to bend, slide, press. I would be doing more of this, ie: playing a chord and shaping it with dimensions, than wanting to pitch bend a chord at the end of a song with a mod wheel, so that all the notes bend at the same time, as BONES described above. However, I can still do it on an MPE controller: simply assign a fader (like one of the faders on the RISE) to master pitch in the patch, and use this fader as the 'pitch bend wheel'. Very simple, and works great (although without the benefit of the spring-loaded wheel).
But forget chords. Even a simple duophonic line is so much more interesting when played on an MPE instrument. Sustain a note in the left hand, and solo/noodle with the right hand, keeping each note independent with pressure, slide, and pitch. So satisfying to play!
And then, often I just do not want to play anything complex at all, and I'd rather just trigger some arpeggiated patches. Again, play a few simple chords and mangle the arp with poly-expression. So good! So easy. Why would anyone arrive at the conclusion that an MPE instrument is more suited to monophonic playing? It's only a subset of what is possible, and boring at that (because we have always been able to get great expression on mono sounds, even with those beautiful Audio Modelling sounds when using breath controllers).
Isn't it time to be exploring poly-expression at last? It is where it's at for me (and not in the virtuosic 'Marco Parisi' manner, but a much simpler style which still gives immense sonic expression).
I just feel that somehow, people are not really utilising these MPE instruments to the full if we get conclusions such as this one.