Sound Design for the Continuum
The Continuum Fingerboard can be used to musically control a wide variety of synthesizers, samplers, softsynths, and dedicated music hardware. Below are a few general suggestions as to what makes various sound sources work well with this expressive controller.
X, Y and Z
The Continuum sends data values for each finger position as it moves against the playing surface, based on a location in three dimensional space. One is the left to right position (X), another is front to back (Y), and the last in from a fingers position as it compresses the surface downward (Z). The imformation derived is divided into X, Y, and Z data streams in a very quick and efficient manner, and output through Firewire and Midi out. How these three parameters are effectively mapped to a sound source is the key to expressive Continuum performances.
The X Direction
The X Direction is generally mapped to pitch control.
The X direction is generally mapped to pitch, which is a natural choice given the parallel to the pitch mapping on a conventional keyboard, lower pitched notes as one moves left and higher pitched notes as one moves right. Correctly matching the pitch bend setting of the synthesizer sound and the Continuum will result in more predictable playing, as finger pitch glides will match both sonically and spatially. The X direction is highly accurate, very suitable for micro pitch accuracy.
Vibrato techniques can be imparted on the Continuum in much the same manner as any other type of fretless instrument, such as a violin, slide whistle, or fretless bass. In general avoid synthesis algorithms with built-in vibrato, which is typically done by sending controller 1 information (the modulation wheel) from a conventional controller to a sound source. A performer's finger movements can create far more expressive pitch and amplitude modulations. This will produce a much more realistic vibrato than what is programmed into the typical sound synthesis patch, as the speed, pitch range, depth, and amplitude shifts can all happen at the same time in varying amounts. As well, these pitch and amplitude shifts are completely independent for every finger.
Rounding tuning grids in the X direction are available. These grids can be great performance aids for complex precise tuning requirements. Refer to the pitch processing page for a detailed description.
The X direction can be mapped to something other than pitch control. For sound design work, having the X direction play through a sound sample analysis can be very effective. Any sort of situation where one needs to high accuracy and locational choice is a good X direction mapping.
The Y Direction
The Y Direction is generally mapped to a timbre shift.
The front to back Y position can provide an important expressive tool for the performer when it is used to control appropriate timbre parameters. When deciding what parameters to control by front-back position, keep in mind that the Continuum Fingerboard measures front to back Y position less accurately than X or Z. However, it can still be but to very useful musical effect. For instance:
A saxophone patch, with more "growl" as the Y value goes higher, as demonstrated in this legato sax piece from the Examples section.
A cello sample patch, where low Y values favor a soft bowed loop and high Y values favor an aggressive bowed loop. Playing with the accompaniment left hand chords close to the front and a solo right hand lead close to the back would create a dynamic and variable presence to the solo melody line.
A wavetable synthesis patch, with the wave table read location changing depending on Y position. This technique is part of the Multicycle piece in the Examples section.
As a panning location, with front playing mapped to the left output and back playing mapped to the right.
A gated octave switch, with sound jumping up an octave if the finger position is closer to the front than the back. This will allow for larger intervallic playing with one hand. This technique is part of the Tine Freshet piece in the Examples section.
As a balance between muted and unmuted trombone timbres, as demonstrated in this trombone piece from the Examples section.
The Z Direction
The Z Direction is generally mapped to an amplitude change.
The Z direction ideal for amplitude changes, which is natural. The harder one presses down, the louder the sound becomes. In addition, it is a good idea to use synthesis algorithms that have timbre changes associated with loudness changes. Most acoustic instruments change their timbre as the volume changes, in that the sound becomes brighter, or the harmonic content shifts. Some sampling synthesizers change only the volume as the performer's finger pressure changes during a note. This limits the apparent dynamic range and expressive possibilities available to the performer.
The Continuum Fingerboard (like MIDI breath controllers) defaults to transmitting a constant 127 for key velocity. This is useful because most times the "Z" pressure value generated by the Continuum is used for controlling the amplitude envelope of a sound. This maximizes the expressiveness of the Continuum by being able to generate unique amplitude envelope shapes for every note struck, rather than a statically envelope that would generated by a traditional ADSR style amplitude envelope.
When using the Z direction to control amplitude, avoid synthesis algorithms that trigger amplitude envelopes on Note On. An apparent ‘double trigger’ or ‘stutter’ effect can result: first you hear the amplitude envelope that is triggered when the finger comes in contact with the playing surface, then you hear a second amplitude increase as the performer’s finger pressure increases on the playing surface. Only the performer's finger pressure variations should be controlling the amplitude, not a built-in envelope.
However, if you find that the sound uses an amplitude envelope that you like and don’t want to discard, consider mapping the Z direction to another controller that does not affect amplitude. Then, use the Key Velocity value generated by the Continuum, which is a measurement of the speed the finger comes in contact with the playing surface. An example of this technique is in this plucked sound in the examples section, where apparent loudness comes from the velocity finger strike. This technique is useful for sounds which has a percussive attack, like guitars, marimbas, kalimbas, or jaw harps.