I just came across another isomorphic oddity for the list. This one's called the Beeboard.
The buttons act on rods in the box, with the movement detected by a camera and converted into MIDI. The layout is inspired by the shape of a bee cell, with microtonal scales in mind. It's the brainchild of Dzintars Briedis, who makes these apian instruments by hand in Latvia.
I’m a sucker for the small seaboard and I’m waiting on their new keyboard to be delivered. I’m also waiting for a kickstarter midi flute/recorder controller thingy.
I like weird but usable. After all it’s just a bunch of switches under your fingers and I have very little keyboard training to get in the way.
Please accept that last statement as the lamest justification you’ve ever heard to buy weird cool stuff, but I’m sticking to it!
ManFromGlass wrote:I’m a sucker for the small seaboard and I’m waiting on their new keyboard to be delivered. I’m also waiting for a kickstarter midi flute/recorder controller thingy.
The Elf wrote:I like Lumi as an idea, but to me it seems an expensive option for a few light-up keys. And for how long would two octaves suit a learner?
Compare it, for example, with something like this light-up keys option (from 2012!)...
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I thought the same as you about 2 octaves so in a burst of insanity I bought 2 to lock them together. I don’t really care about the light up keys, I’m more interested in a good feeling keybed that can do MPE. As much as I like the squishy keys of the Seaboard I hit a lot of unintended notes to either side of the intended notes. My fingers are crossed that all their marketing blah blah about the Lumi keybed is not a crock.
Here's a new one - the Lumatone, launched at NAMM 2020. It looks a little like the Rainboard at the top of the thread, with a harmonic table layout and illuminated keys.
Zukan wrote:Some of these are truly stunning! Even if they didn't make a sound I'd still love to own one.
Yes a lot of these alternative interfaces are very beautiful, and I’ve been tempted by them in the past, but the musical examples, and actuality playing them, has always been a disappointment. It’s as if the actual chromatic keyboard, in all its forms (even my Buchla has one) has always won out, it’s been developed over centuries, it’s like it can’t be improved upon or superseded.
...yep, I like the way different interfaces (and that could be a MIDI violin or trumpet) make you take a different approach to playing music, and often offer up a whole new repertoire of standard pieces.
I agree that the demos for novel keyboards are usually dire, but I don't think that's because they're inherently bad, or that the standard keyboard is necessarily better (although it's clearly very good), just that few or no people have taken the time to develop the same expertise.
Some of them are destined for failure, but others have untapped potential. I'm still interested in the Dualo, and especially the discontinued "du-touch L". I think the thing is nicely designed, and capable of virtuosity rivalling the melodeon or concertina if anyone spent the time on it.
Just my opinion, but I think one of my best recordings (again IMO) was done without any keyboards at all, the only interface I used was a computer mouse. Every one hears it and asks what keyboards were used, none.
It also taught me how to approach sounds in a different way, although the results still sound very "traditional" even though the sounds, are quite unusual.
I finally found out how to add vibrato aftertouch on my Dualo. (The settings are rather obscure.) I'm enjoying this thing at the moment; it's a perfect commuter instrument.
(I used to feel unprepared if I didn't have a paperback on me; I hate being out and waiting for something when I've nothing to do. These days it's generally an instrument instead.)
I've just set the aftertouch to a subtle amount, but it makes a lot of difference to the feel of it when you're playing. I've recently been practising some folk tunes on the bus to work...here's a quick demo of "Fairy Dance" with the new vibrato effect on Ocarina.