This article contains promotional content .(September 2024) |
Continuum Fingerboard | |
---|---|
Manufacturer | Lippold Haken |
Dates | c. 2002–present |
Price | Full size: $5290 [1] Half size: $3390 |
Technical specifications | |
Polyphony | 16 voices |
Input/output | |
External control | MIDI, AES3 |
The Continuum Fingerboard or Haken Continuum is a music performance controller and synthesizer developed by Lippold Haken, a professor of Electrical and Computer Engineering at the University of Illinois, and sold by Haken Audio, located in Champaign, Illinois. [2]
The Continuum Fingerboard was initially developed from 1983 to 1998 [3] at the CERL Sound Group at the University of Illinois, to control sound-producing algorithms on the Platypus audio signal processor [4] and the Kyma/Capybara workstation. [5]
In 1999, the first Continuum Fingerboard was commercially sold. Until 2008, the Continuum Fingerboard provided IEEE-1394 (FireWire) connections to control a Kyma sound design workstation, as well as MIDI connections to control a MIDI synthesizer module. More recently, the Continuum Fingerboard generates audio directly in addition to providing MIDI connections for MIDI modules, software synthesizers, and Kyma (the IEEE-1394 connection that was present on earlier models has been removed). An external control voltage generator permits control of analog modular synthesizers.
The Continuum features a touch-sensitive neoprene playing surface measuring approximately 19 centimetres (7.5 in) high by either 137 centimetres (54 in) long for a full-size instrument, or 72 centimetres (28 in) long for a half-size instrument. The surface allows a pitch range of 9350 cents (about 7.79 octaves) for the full-size instrument, and 4610 cents (about 3.84 octaves) for the half-size instrument. The instrument has a response time of 0.33 ms. [6]
Sensors under the playing surface respond to finger position and pressure in three dimensions and provide pitch resolution of one-tenth cent along the length of the scale (the X dimension), allowing essentially continuous pitch control for portamento effects and notes that are not in the chromatic scale, and allowing for the application of vibrato or pitch bend to a note. A software "rounding" feature enables pitch to be quantized to the notes of a traditional equal-tempered scale, just scale or other scale to facilitate in-tune performance, with the amount and duration of the "rounding" controllable in real time. [7]
The Continuum also provides two additional parameters for the sound: it is able to transmit the finger pressure on the board as a MIDI value, as well as the finger's vertical position on the key. These parameters are independently programmable; a standard configuration is where position on the X-Axis (lengthwise) on the instrument corresponds to pitch, position on the Y-Axis (widthwise) corresponds to a timbre shift, and position on the Z-Axis (vertically) corresponds to a change in amplitude. The Continuum is capable of polyphonic performance, with up to 16 simultaneous voices.
Each recent revision has brought more features and sound diversity to the internal synthesizer in the Continuum Fingerboard. As such, the instrument can now be considered both a controller and a stand-alone instrument.
As of 2008, the Continuum Fingerboard has a new modular digital synthesizer built-in, specifically designed for the Continuum Fingerboard, called The EaganMatrix. [8] The EaganMatrix uses a patching matrix to design synthesis algorithms. The patching matrix interconnects a variety of modules: oscillator, filter, delay, modulation, waveshaping, spectral manipulation, modal physical modeling, waveguide physical modeling, kinetic modeling, granulation, and shape generator. Each three-dimensional performance direction of the Continuum playing surface can influence each patch point in the matrix. By defining formulas and placing them at points in the patching matrix, the user creates relationships between the finger touching the Continuum playing surface and the flow of sound from patch sources to patch destinations. [9] The EaganMatrix is named after the Canadian composer Edmund Eagan.
A major proponent of the Continuum in contemporary music is Jordan Rudess, keyboardist of the progressive metal band Dream Theater. Each Dream Theater studio album from Octavarium (2005) to A Dramatic Turn of Events (2011) features the Continuum in at least one song. It was a fixture of Rudess' live setup from 2005 to 2014, as seen on the concert DVD releases Score , Chaos in Motion 2007–2008 , Live at Luna Park , and Breaking the Fourth Wall . It was also used on Rudess' 2007 solo album The Road Home .[ citation needed ] Since 2019, Rudess' live setup includes the ContinuuMini, a smaller version of the Continuum.
Another advocate is Sarth Calhoun, who uses it in his work with Lucibel Crater and whilst he was working with Lou Reed. In the Metal Machine Trio, both Calhoun and Reed used Continuum Fingerboards on stage. [10]
Indian composer A. R. Rahman's 2007 Third Dimension tour of North America featured the Continuum. [11] He used the Continuum in a piece he composed for the Changing Notes Concert held in Chennai, and in the song "Rehna Tu" in the 2009 movie Delhi-6 and the new version of "Mile Sur Mera Tumhara". He also used it in his score of the film Kadal and in the track "Acid Darbari" from the Academy Award-nominated soundtrack of 127 Hours . [12] Rahman was particularly impressed with the fact that the Continuum fingerboard could produce Carnatic/Hindustani classical music notes, which is a significant improvement over the piano. [13] In August 2013, Rahman was seen using the Continuum in his song "Soz O Salam" in Coke Studio @ MTV (India) Season 3.
The Continuum, ContinuuMini, EaganMatrix Module, and Osmose were used by Hans Zimmer for his score to Dune: Part Two , with instrument design and performance by Guillaume Bonneau, Christophe Duquesne, and Edmund Eagan. [14]
The Continuum was used by John Williams for his score to Indiana Jones and the Kingdom of the Crystal Skull . [15]
Composer and performer Derek Duke used the Continuum in Blizzard Entertainment game soundtracks, including StarCraft II: Wings of Liberty , World of Warcraft , and Diablo III . [16]
The Turkish-American composer and performer Mehmet Ali Sanlıkol used the Continuum in two albums, Whatsnext? (2014) and Resolution (2016), that combine Turkish musical traditions with jazz. [17]
Composer and performer Ramin Djawadi both conducts the orchestra and plays Continuum in his 'Game of Thrones Live Concert Experience' tour, with the Full-size Continuum Fingerboard at his conductor's podium. [18]
Composer and performer Matthias Weber used the Continuum in his score for Das Boot (2018). His Continuum solo in the opening of the first episode "conveys a sense of loneliness" and "a sense of vast space that the ocean is – similar to outer space." Throughout the series he used it "melodically, both for aggressive, distorted colors for the U Boat; and for softer flute-like timbres" and for "musical sound design textures for tension and suspense." [19]
Other musicians using the Continuum include John Paul Jones, Lou Reed, Randy Kerber, [20] Amon Tobin, [21] Sally Sparks and Thereminists Rob Schwimmer, Andrew Levine, and Grégoire Blanc.
An electronic musical instrument or electrophone is a musical instrument that produces sound using electronic circuitry. Such an instrument sounds by outputting an electrical, electronic or digital audio signal that ultimately is plugged into a power amplifier which drives a loudspeaker, creating the sound heard by the performer and listener.
MIDI is a technical standard that describes a communication protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music.
Digital music technology encompasses the use of digital instruments to produce, perform or record music. These instruments vary, including computers, electronic effects units, software, and digital audio equipment. Digital music technology is used in performance, playback, recording, composition, mixing, analysis and editing of music, by professions in all parts of the music industry.
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An analog synthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically.
The Electro-Theremin is an electronic musical instrument developed by trombonist Paul Tanner and amateur inventor Bob Whitsell in the late 1950s to produce a sound to mimic that of the theremin. The instrument features a tone and portamento similar to that of the theremin, but with a different control mechanism. It consisted of a sine wave generator with a knob that controlled the pitch, placed inside a wooden box. The pitch knob was attached to a slider on the outside of the box with some string. The player would move the slider, thus turning the knob to the desired frequency, with the help of markings drawn on the box. This contrasts with the theremin, which a performer plays without touching as two antennas sense the position and movement of the performer's hands.
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A music workstation is an electronic musical instrument providing the facilities of:
CV/gate is an analog method of controlling synthesizers, drum machines, and similar equipment with external sequencers. The control voltage typically controls pitch and the gate signal controls note on-off.
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Audio editing software is any software or computer program which allows editing and generating audio data. Audio editing software can be implemented completely or partly as a library, as a computer application, as a web application, or as a loadable kernel module. Wave editors are digital audio editors. There are many sources of software available to perform this function. Most can edit music, apply effects and filters, and adjust stereo channels.
Ableton Live, also known as Live or sometimes colloquially as "Ableton", is a digital audio workstation for macOS and Windows developed by the German company Ableton.
A MIDI controller is any hardware or software that generates and transmits Musical Instrument Digital Interface (MIDI) data to MIDI-enabled devices, typically to trigger sounds and control parameters of an electronic music performance. They most often use a musical keyboard to send data about the pitch of notes to play, although a MIDI controller may trigger lighting and other effects. A wind controller has a sensor that converts breath pressure to volume information and lip pressure to control pitch. Controllers for percussion and stringed instruments exist, as well as specialized and experimental devices. Some MIDI controllers are used in association with specific digital audio workstation software. The original MIDI specification has been extended to include a greater range of control features.
A sound module is an electronic musical instrument without a human-playable interface such as a piano-style musical keyboard. Sound modules have to be operated using an externally connected device, which is often a MIDI controller, of which the most common type is the musical keyboard. Another common way of controlling a sound module is through a sequencer, which is computer hardware or software designed to record and playback control information for sound-generating hardware. Connections between sound modules, controllers, and sequencers are generally made with MIDI, which is a standardized interface designed for this purpose.
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A wind controller, sometimes referred to as a wind synthesizer, is an electronic wind instrument. It is usually a MIDI controller associated with one or more music synthesizers. Wind controllers are most commonly played and fingered like a woodwind instrument, usually the saxophone, with the next most common being brass fingering, particularly the trumpet. Models have been produced that play and finger like other acoustic instruments such as the recorder or the tin whistle. The most common form of wind controller uses electronic sensors to convert fingering, breath pressure, bite pressure, finger pressure, and other gesture or action information into control signals that affect musical sounds. The control signals or MIDI messages generated by the wind controller are used to control internal or external devices such as analog synthesizers or MIDI-compatible synthesizers, synth modules, softsynths, sequencers, or even non-instruments such as lighting systems.
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