MIDI Controller That Looks Like A Guitar

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发表于 2013-8-16 11:54:21 | 显示全部楼层 |阅读模式

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你们当中有些人可能还记得从该数字基塔拉数码吉他。现在已停止，但该公司已经推出了三低音，他们告诉我们已专为明天的电子音乐。这是像自己的话的细节…

“虽然看起来像一把吉他，并有一个像低音吉他的名字，这是发挥都不喜欢。三低音设计相当远离传统的吉他删除，甚至比原来更像基塔拉。这部分是试图打破任何假设的人可能会有数字的吉他风格仪器；尽管大多数情况下，它使仪器非常适合现代电子音乐设置。以这种方式进行，让我打破设计的核心要素。

颈部是触摸鼓励沿颈部滑动敏感。事实上，这就是所有的一切。没有按钮。这是停止的振幅和过滤器的信封重启坏的声音，就是当试图滑过按钮数组。当你设定你的合成器的下滑，这颈部设计将确定它听起来比什么都好。键盘是波浪形通道锁指传感器领域。这主要是提供触觉信息的球员需要他们的手的位置。

三低音三“弦”只有六根弦是不必要的。是的我知道这是一个有争议的陈述。但在学习其他人在使用该基塔拉，了解他们的期望作为“数字吉他手”，最重要的是看到其他人正在使用的工作流和过程制造现代电子音乐，我知道这是一个正确的决定。一个音符就通过一个合成器能足以穿过任何组合和听起来像幸福提供足够的声调信息（如果你做的是正确的）。你真的需要六？（这是不以牺牲的音乐，因为多通道性质的仪器-见下文-超过弥补了它。）很多人拿起基塔拉试图发挥巴雷和弦。这不是真的吧。这些六弦都不重要，什么三低音是努力实现。设计是一个提醒，三低音是不是听起来像一把吉他，并迫使用户适应他们的演奏风格的一个新的电子表格。对于低线数的另一个原因是，三广泛分布的字符串允许我做有趣的事情我有更多的空间布局。结果是让比赛更愉快的生活，尤其是在昏暗的光线条件下。

三低音身体和脖子是实木只是作为一个电吉他。枫树颈部演出的感觉真舒服。这是我最喜欢的部分的设计，因为我认为，加上嵌入式电子产品，提供传统的和现代的形式之间的完美平衡。有一些旧材料的新的结合特殊的，即使它可以是一个工程的噩梦。

三低音是只有一个控制器和没有一个车载合成器。艺术的状态都是免费软件合成器来产生声音和音乐家很少限制自己只一个合成器。我想离开这个选项开放给玩家选择根据自己的口味的声音，而不是被困在硬件提供的东西。此外，大多数合成器是高度可配置的。所以我的目标是让三低音没有在所有的配置选项，以防止在两端是混乱的配置要求，尤其是当共享预置。一个简约的界面在声音模块端配置是最有效的。

也许三低音最酷的元素是多渠道的默认。屏幕可以让你控制多个合成器或者声音的同时。你可以混合不同的声音在一起仅仅通过触摸屏幕上的不同部分。

总之，我很自豪我三低音。它是一个坚实的，强大的和阶段价值的产品已经有很多想去设计，还有大量的工作去工程。希望你能喜欢。

以下为原文：

Some of you may remember the Kitara digital guitar from Misa Digital. That's now been discontinued but the company has introduced the Tri-Bass which they tell us has been designed specifically for tomorrow's electronic music. Here's the details in Misa's own words...

"Although it looks like a guitar, and has a name like a bass guitar, it is played like neither. The tri-bass design is pretty far removed from traditional guitar, even more so than the original misa kitara. Partly this is to try and break any assumptions people may have of digital guitar style instruments; mostly though, it's to make the instrument fit perfectly in a modern electronic music setting. So with that out of the way, let me break down the core elements of the design.

The neck is touch sensitive to encourage sliding along the neck. In fact, that's what it's all about. There are no push buttons. This is to stop the bad sound of amplitude and filter envelopes restarting, something that happens when trying to slide across an array of push buttons. When you set your synth to glide, this neck design will make sure it sounds better than anything. The fingerboard is wave shaped with channels to lock the finger to the sensor area. This is mainly to provide the tactile information a player needs about their hand position.

The tri-bass has three "strings" only - six strings are unnecessary. YES I know that's a controversial statement to make. But after learning how other people were using the misa kitara, understanding their expectations as "digital guitarists" and most importantly seeing the workflow and processes others are currently using to produce modern electronic music, I knew it was the right decision to make. One note alone through a synthesizer can be enough to completely cut through any mix and provide enough tonal information to sound like bliss (if you're doing it right). Do you really need six? (And this is not to sacrifice musicality, because the multi-channel nature of the instrument - see below - more than makes up for it.) Too many times people have picked up a kitara and tried to play a barre chord. It's not really right. These sorts of six string chords are just not important for what the tri-bass is trying to achieve. The design is a reminder that the tri-bass is not meant to sound like a guitar, and it forces the user to adapt their playing style to a new electronic form. The other reason for the low string count is that three widely spaced strings allows me to do interesting things with the layout as I have more space. The result is to make playing much more comfortable and enjoyable, especially live and in dim light conditions.

The tri-bass body and neck are solid wood just as an electric guitar is. The maple neck feels really comfortable to play. This is my favourite part of the design because I think this, coupled with the embedded electronics, provide that perfect balance between traditional and futuristic forms. There is something special about combining old materials with new ones, even though it can be an engineering nightmare.

The tri-bass is a controller only and does not have an on-board synthesizer. State of the art software synthesizers are freely available to generate sound and musicians rarely limit themselves to one synth only. I want to leave the option open to the players to choose sounds based on their own taste, rather than being stuck with something provided on the hardware. Furthermore, most synthesizers are highly configurable. So my aim has been to give the tri-bass no configuration options at all, to prevent the requirement of configuration at two ends which is messy, especially when sharing presets. A minimalistic interface with configurability at the sound module end is most effective.

Perhaps the coolest element of the tri-bass is that it is multi-channel by default. The screen lets you control multiple synths or sounds simultaneously. You can mix different sounds together just by touching different parts of the screen.

In summary, I am very proud of the misa tri-bass. It is a solid, robust and stage-worthy product that has had a lot of thought go in to the design, and a lot of work go in to the engineering. I hope you like it."

学编曲，就上编曲186.

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