DIYAPASON-L Digest #228 - Tuesday, January 9, 2001
 
Electronic reverb
  by "Kurt Schlieter" <kschliet@execpc.com>
[Residence Organs] Touch Sensitivity
  by "Hugh Knapton" <knapton@superaje.com>
Re: Wheels on Windchests, and assorted vermin...
  by "Bob Loesch" <rrloesch@jps.net>
Re: Touch Sensitivity
  by <TheGluePot@aol.com>
 

(back) Subject: Electronic reverb From: "Kurt Schlieter" <kschliet@execpc.com> Date: Tue, 09 Jan 2001 08:14:58 -0600   I've been doing quite a bit of research on this, and I've come to the conclusion that if you're going to introduce reverb, you want the room to be as acoustically dead as possible. Here's the reason: Your brain calculates the size of the room based upon two factors, the length of the reverberation, and the arrival time of the first reflection. Adding reverb to a live room will never give a satisfying result, as the brain will simply perceive it as a small room with an artificially enhanced reverb time. Using a dampened room will allow you to control all parameters of the reverberation, and, thus, emulate any room you wish. The ultimate system would be one with microphones in the room itself, these would then feed individual delay lines ( a device which simply delays the signal for a fraction of a second before passing it on) and then an amplifier and speaker. Ideally, there would be a matrix of at least a dozen such systems in the room, and the signal would be passed from unit to unit, with a computer controlling the amount of delay at each location, as well as the amplitude of the signal going to each speaker. This would completely emulate the reverberation of a natural room, complete with reverberation on the ambient noises, such as conversation. The trick, of course, is to do this with out introducing regeneration (feedback) into the loop. One other possible drawback is the eyes seeing a small room and the ears hearing a large one. I have no idea if that would cause any problems. I may try this at a friends house on his Wurlitzer 3/11, which is installed in a small room. If I come up with anything further, I'll let you know. Kurt Schlieter Waukesha, WI    
(back) Subject: [Residence Organs] Touch Sensitivity From: "Hugh Knapton" <knapton@superaje.com> Date: Tue, 9 Jan 2001 10:26:16 -0500   Hello List, & Happy New Year!   I joined this list to offer advice but I am now seeking it!   Prior to us adopting solid state switching, we built a 3 manual organ of about 45 ranks. The switching system is still in excellent condition!   The organist has for 10 years or so also had a Yamaha keyboard placed beside the console, so that he can use "percussive" voices such as piano & harpsichord.   He would like us to unite the two!.. even just on his lower organ keyboard (Positiv). It is imperative that this should include the touch sensitivity. He is generally NOT interested in many items that MIDI can offer, and I do not have a great deal of experience with Midi anyway.   I fully realize that I can obtain "touch sensitivity" (velocity sensing) if we were to install a new switching system by Classic (Artisan-Classic) of Toronto, but this is not within the present budget. I also have not had the opportunity of "looking at the innards" of a Yamaha keyboard to see if the necessary parts could be removed and placed under the lowest keyboard.   Anyone got any suggestions? ... They would be appreciated.   Hugh  
(back) Subject: Re: Wheels on Windchests, and assorted vermin... From: "Bob Loesch" <rrloesch@jps.net> Date: Tue, 09 Jan 2001 07:27:52 -0800   Uh, why do you guys wait until they're dead?... ;-) At 19:08 01/08/2001 -0500, Jon wrote: >Then there are those of us who don't vacuum them up. > >>.....Makes it easier to vacuum up the dead creepy-crawlers. >> >>Devon Hollingsworth, In Chicago Suburb     Regards, Bob, in beautiful Lake County, California, USA NAWCC 140818 http://www.jps.net/rrloesch alternate mailto:cuckoobob@eudoramail.com    
(back) Subject: Re: Touch Sensitivity From: <TheGluePot@aol.com> Date: Tue, 9 Jan 2001 14:15:32 EST   Hello Hugh:   Cheap and dirty sensing of key velocity may be done with just two = contacts, the first which is the normal note contact, and the second which is the contact sensing the time it took the key to travel down to make contact. This type is used on several very low end electronic keyboards and are generally considered by many musicians to be totally unacceptable. The = more expensive velocity sensing switches and accompanying electronics can get expensive as you have found out. If the keyboard now used for percussive instruments uses the cheaper two contact method, you could just use two contacts off of the contact blocks for each note over to the electronic keyboard. Adjusting the two contacts for uniformity would be a labor intensive job. As you point out the alternative would be to gut the electronic and hopefully have enough room under the real wood keyframe of = the organ for the velocity switches. There is no easy perfect solution that I =   can think of to your dilemma.   Good luck,   Al Sefl