The incipit on the producer's website perfectly conveys the idea: “Keep in touch with your music! Through a thin wooden skin, which offers all the depth of an acoustic instrument, the direct connection between your mind and your sound is completely within reach. Ladies and Gentlemen Welcome to the Controller Era !!!įor those like me who have been dedicated to the production of electronic music for quite some time now, attention to the evolution of the controller market has always been a priority, and there has been no shortage of news in recent years: in addition to sliders, wheels, keys and pads, touch screens, electromagnetic field generators and an infinite number of custom experiences have arrived between self-built gadgets and the reuse of consumer electronics objects (gamepads of different video game consoles, joystick-trackballs, old junk for PC, etc.).īut the controller I'm going to talk about in this article has a surprisingly new and never-before-seen concept. The important thing is that it sounds analog like no virtual and that it offers the possibility of intervening in real time on as many sound generation parameters as possible! So, if in the studio we rely on the now increasingly simple and affordable DAW with their editing versatility and the infinite availability of automation, on stage all this desire to demonstrate how wrong the world is and completely to change how do we represent it? How do we give voice to our virtual and / or analog instruments without everything transforming into the pressure of a big key Playback and that the show goes on on its own without actors and without technicians? Touché - Controller vs traditional instrument - Pic. However, there is also another trend that is spreading in the subsoil of new electronics, and it is the presence in the setup of the musician / producer (now it makes little sense to say exclusively musician) of at least one analog synthesizer, maybe modulate, whether it's a thick vintage or a new concept project. The productions of recent years now seem to draw exclusively on the world of beat and rhymes rapped, glitch and drones, and from that of all derivations of the dubstep more extreme.
#EXPRESSIVE E TOUCHE SE AUTOMATION CODE#
Well let's face it: electric guitars have definitely lost the revolutionary charm of the past, and today that little bit of anger that still pervades the fiery souls of young musicians can only be found in the electronics of notebook and in binary code of the Plugin latest.
The pestiferous wave that has decimated, in recent months, almost all the giants of music is perhaps only comparable to the devastation that occurred in 1994, the year in which Kurt Cobain left us and with him every possibility that the guitars were a spit in the face of the system instead of a flash mob. Well built, feels sturdy - and you can replace & customise parts.“We are in one of those moments when the Cosmo, one of the monikers behind which David Bowie hides, tries to communicate that it is time to change. I would recommend going with the original Touche and not the SE if you want even more CC control. I highly recommend the Touche for orchestral composers who want to avoid using 2 or 3 sliders at once. It is a physical instrument after all.Ī small con is that it takes about 10 seconds to save any new CC controls you assign and that it took me about an hour to find the right way to load Touche only as a midi instrument (without using Lie). It might take a few days to get used to controlling the Touche on one hand, while playing your keyboard with the other - but it's worth the practice! An extra good feature is that you can control the sensitivity of the Touche (how responsive it is to your movements). You can even set up your own custom CC curves (like exponential or linear or even draw one). I'm very pleased with the results: smooth expression, much more detailed than what a slider can get you! The best feature is that you can use two CC's at once (example: vibrato and expression) and have them flawlessly combined into each other.
I got the Touche for controlling orchestral and ethnic instruments, specifically for mapping dynamics, vibrato and expression to the different axes of the Touche.
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