unless you are the conductor of the new york philharmonic conducting 4 theremin players (+ the new york philharmonic orchestra) in 1928 when leon theremin and some of his students played with them. Waving your arms at people to make music by waving their arms!
The d-beam did seem to add some 'gee whiz' factor to the groovebox things roland stuck it on to, which might have not directly sold many units (I own one, and mostly because of the d-beam and general knobbyness of it, to use as a portable machine to play with live, but i picked it up used so roland didn't directly make any money from me) but it might have paid off in terms of advertising/name recognition. I did a lot of my graduate work using a Very Nervous System (gestural control system using a couple cameras that could track motion,etc) and without fail everytime i'd perform with it in public someone would go 'hey! that's like that thing on the mc-505!' and a mini roland commercial would ensue. dunno if that it would completely justify the costs though.
For the forseeable future though I agree that it wouldn't be worth if for most synth companies to build any of the more exotic interfaces directly into an instrument. but it might be worth it for an instrument manufacturer to work closely with a third party controller manufacturer and make certain their synthesizer worked especially well with whatever gizmo the interface maker was coming out with, make a bank of preset sounds that work well with it, much like how a lot of yamaha fm synths have patches designed for some sort of vector sweep like control or for wind controllers, midi guitars, etc as well as make sure that the interface shipped with an instrument definition for whatever your new synth is.
If access would like to give me one of those oh so pretty indigo2's i'd be happy to help out with some gestural control oriented patches for it.;)
Re:History of virtual reality
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Science Faction
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· Score: 1
I haven't found any particularly amazing sites on the history of vr but there is a collection of essays called 'multimedia: from wagner to virtual reality' edited by randall packer and ken jordan that has a lot of good material, starting with richard wagner and working thgough to the same damn chapter from 'hamlet on the holodeck' by janet murray that everyone excerpts for such collections, not that it's a bad chapter, but i'd rather see some more of her writings since i already own HotH, which if you haven't read I'd also recommend as it has a lot of historical information about VR as well as her theories about agency and authorship and such
they should have taken them to lost cross (carbondale's finest punk house) though the sewer tunnels are pretty similiar, arguably cleaner though. living in carbondale did seem like a sort of survival horror experience at times, but it's still neat to see my old home town become famous for alien weirdness and random violence, even if it's of the virtual sort.
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unless you are the conductor of the new york philharmonic conducting 4 theremin players (+ the new york philharmonic orchestra) in 1928 when leon theremin and some of his students played with them. Waving your arms at people to make music by waving their arms!
The d-beam did seem to add some 'gee whiz' factor to the groovebox things roland stuck it on to, which might have not directly sold many units (I own one, and mostly because of the d-beam and general knobbyness of it, to use as a portable machine to play with live, but i picked it up used so roland didn't directly make any money from me) but it might have paid off in terms of advertising/name recognition. I did a lot of my graduate work using a Very Nervous System (gestural control system using a couple cameras that could track motion,etc) and without fail everytime i'd perform with it in public someone would go 'hey! that's like that thing on the mc-505!' and a mini roland commercial would ensue. dunno if that it would completely justify the costs though. For the forseeable future though I agree that it wouldn't be worth if for most synth companies to build any of the more exotic interfaces directly into an instrument. but it might be worth it for an instrument manufacturer to work closely with a third party controller manufacturer and make certain their synthesizer worked especially well with whatever gizmo the interface maker was coming out with, make a bank of preset sounds that work well with it, much like how a lot of yamaha fm synths have patches designed for some sort of vector sweep like control or for wind controllers, midi guitars, etc as well as make sure that the interface shipped with an instrument definition for whatever your new synth is. If access would like to give me one of those oh so pretty indigo2's i'd be happy to help out with some gestural control oriented patches for it. ;)
I haven't found any particularly amazing sites on the history of vr but there is a collection of essays called 'multimedia: from wagner to virtual reality' edited by randall packer and ken jordan that has a lot of good material, starting with richard wagner and working thgough to the same damn chapter from 'hamlet on the holodeck' by janet murray that everyone excerpts for such collections, not that it's a bad chapter, but i'd rather see some more of her writings since i already own HotH, which if you haven't read I'd also recommend as it has a lot of historical information about VR as well as her theories about agency and authorship and such
they should have taken them to lost cross (carbondale's finest punk house) though the sewer tunnels are pretty similiar, arguably cleaner though. living in carbondale did seem like a sort of survival horror experience at times, but it's still neat to see my old home town become famous for alien weirdness and random violence, even if it's of the virtual sort.
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