Breath Controller

[faonfaon]

Hi,

I have a problem with the modulation wheel. I always use it AFTER my track recording and I even slow down the tempo but it never sounds as I would like. To be honest, it is NOT so bad but I would like to be more precise and more in some details. For me, the modulation wheel is like an instrument which needs a lot of practice. (May be this is the answer of my problem ?)
So, I changed to the TEC breath controller which gives more satisfaction. And again, I use it after the recording so that I am able to focus on the volume curves. The tempo is, most of the time, slowed down. That helps me a lot.
The breath controller is wonderful for winds and brass because the musicians have to breath like I have to do. (I hear too many good music where breathing is missing).
For the strings, it is also good but string players can play for a very long time and that is the problem of the use of the BC.

Is there a way to solve the problem ? Will it sound unrealistic to breath (I mean to have small gaps) in a string phrase ?
Could you tell me the way you work, this will be very interesting for me to know it.

Thanks !

[HCMarkus]

The breath controller is wonderful for winds and brass because the musicians have to breath like I have to do. (I hear too many good music where breathing is missing). For the strings, it is also good but string players can play for a very long time and that is the problem of the use of the BC.
Thanks !

For strings, I switch to foot pedal for control (using DP's "Change Data" MIDI plugin to route CC11 to CC2) of lengthy phrases. Also, a key for strings is setting up lag of BC to smooth out the VI's response to BC messages. I record dynamics as I perform parts, then refine dynamics with CC7, but I also like your idea of overdubbing the BC after performance.

Wallander for horns and other winds. Just ask Shooshie!

I Love BC; it breathes life into MIDI.

[stubbsonic]

I like how you describe the Mod Wheel as an "instrument" in terms of learning to use it effectively with practice. The same can be said for BC and Foot CC.

I've always wanted to train my left foot to use the pedal CC because (at least theoretically) I could keep using the right foot for sustain-- if needed. I play a little drum set and it's funny that the pedal CC is sort of the opposite of the hat, push down the left foot to make it quieter- lift to make louder (splashier).

But you raise a useful question about BC's & strings control-- and the need to exchange stale air for fresh in order to live.

Circular breathing is pretty tricky, but is a bit easier if the air resistance is high enough. In a nutshell, you fill up your mouth with air (dropping your jaw, even puffing your cheeks a bit)-- then close the back of your mouth (as if saying "haa-ing") then play with the mouth-only air, while you quickly inhale through your nostrils, then transition back to using lung air (by saying "nngahh").

So the move just goes "haaaaaaa[make mouth big & hollow & full of air]-innng[sniff in air as you play with your mouth air]-nng-haa [gently transition back to lung flow]

This also takes practice, arguably more than with the mod wheel or pedal CC, but once you get it, it's pretty satisfying. I can talk you through the training cycle if that sound intriguing. You start your training with those coffee stirrers that are narrow plastic straws and a cup of water... intrigued?

[HCMarkus]

I played with a sax guy years ago who did the circular breathing thing. He had to demonstrate this talent for the audience during a solo at every gig.

It was circularly irritating.

OTOH, the potential usefulness in the application at hand is certain.

[Prime Mover]

I almost never use the mod wheel. I typically tie things to either aftertouch or the foot pedal. No, neither of them are actually as accurate as the mod wheel, but they don't require relinquishing a hand to play them either. I typically only use the MOD wheel for long-term controller things like, "change the sound of the instrument at this point in the song". I might as well use a button, but don't get me started on the problem with toggle switches on modern controllers.

Maybe I would use it more if I had a joystick-style pitch/mod wheel combo, but I've never owned a keyboard with one.

[stubbsonic]

I played with a sax guy years ago who did the circular breathing thing. He had to demonstrate this talent for the audience during a solo at every gig.

It was circularly irritating.

I use it all the time, but no one would ever notice. I'm just holding some long note and run out of air and grab a couple quick sniffs to keep it going a little longer. (Ok, sometimes I'll impress a student with circular breathing, just to get their attention. -- but frankly they are far more interested in the farting noises I can make with my hands.) So far I've taught one 7th grader to circular breath. He picked it up quickly.

[HCMarkus]

I almost never use the mod wheel. I typically tie things to either aftertouch or the foot pedal. No, neither of them are actually as accurate as the mod wheel, but they don't require relinquishing a hand to play them either. I typically only use the MOD wheel for long-term controller things like, "change the sound of the instrument at this point in the song". I might as well use a button, but don't get me started on the problem with toggle switches on modern controllers.

Maybe I would use it more if I had a joystick-style pitch/mod wheel combo, but I've never owned a keyboard with one.

Aftertouch is a controller that is significantly enhanced with lag processing. I don't understand why we don't see a programmable "Lag" parameter on keyboards with aftertouch...

Yeah, the big problem with the mod wheel is the sacrifices one must make to use it. In my live rig, I assign the mod wheel to filter in the synth pad layer of my composite sound. It allows me to go from fat paddy to string thingy easily.

And to Stubbs: I am SO pleased you use the tools with restraint. We are striving to make music, si?