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Re: [ML] wide sustain pedals

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  • Chuck Fisher
    a person could use 2 footswitches connected in parallel with a foot-bar across them, if one, both or either closes, it works... or use separate footswitch
    Message 1 of 6 , Dec 1, 2001
      a person could use 2 footswitches connected in parallel with a foot-bar
      across them, if one, both or either closes, it works... or use separate
      footswitch inputs for each and program the same function on both.

      or

      i have very sensitive air switches that could probably work on the end of a
      piece of soft rubber hose ala-gas-station-bell...

      just a few thoughts, simplistic but functional...

      btw, emmet chapman had a "patches of shades" device that functioned by
      obscuring an optical path by stepping on a rubber tube-i think

      marimba geeking,
      cf

      At 08:35 PM 11/30/01 +0000, you wrote:
      >Hi Folks,
      >
      >I've been on the road, at PASIC and other places, and
      >would like to join in with a few thoughts about pedals.
      >
      >The long xylosynth pedal was made from a sewing machine
      >treadle control (this is what they told me when I first
      >saw it). I understand the the xylosynth is still being
      >sold in England, so it should be possible to find a
      >working e-mail for them. If someone out there still
      >wants to have them and is having trouble, let me know
      >and I'll sleuth them down.
      >
      >Why a long pedal? It's a matter of comfort. I've seen
      >vibes and chimes with both the small rotating sort of
      >pedal (much more common) and the long, looped bar sort
      >of pedal. The long pedals are usually attached with two
      >upright connectors (cable or dowels) and this means two
      >springs. This type of linkage is usually harder to
      >balance out on the damper, so that's why I think it's
      >seen less often. Christina rightly points out that if
      >you like to switch feet, the longer pedal is easier to
      >use. The rotating action of the small pedal is cool too.
      >I've a longtime dream of making an electronic pedal for
      >the lumina that has two potentiometers in it.. one that
      >measures the rotation and another that measure depth,
      >with 3 moment switches, one at each "side" of the
      >rotation excursion, and one at the bottom of the up/down
      >range. I've prototyped something like this with my old
      >mallet KAT, attaching pots and switches to my Musser M-
      >55 pedal and playing the KAT above the acoustic vibes.
      >It's a very nice thing to have.
      >
      >A word about sustaining with a footswitch versus a real
      >acoustic damper. Pedal technique on a vibe is not simply
      >a matter of on/off. Virtuoso players ride the pedal in a
      >variety of ways to get different effects. Just like a
      >pianist does. A slight pressure on the pedal can be used
      >to eliminate noisy clatter from the linkage, while still
      >getting a staccato note duration. Careful pressure can
      >change that duration without actually sustaining the
      >note. The first time I saw Milt Jackson play I was
      >amazed. You know those beautiful long notes he gets? He
      >plays them with the pedal up... and beats HARD. Then
      >while the note is still ringing, he depresses the pedal.
      >It was unbelievable to see.
      >
      >On the lumina, we only get on/off, not quite the same. A
      >neat trick I learned from Joel Davel is to use the slew
      >time with the foot pedal, so, for instance, to turn
      >sustain on, add a patch on switch down that sets
      >controller 64 to 64 (on) with a slew time of 10msec or
      >longer. This means the sustain will happen sometime
      >*after* you hit the pedal. Depending on the sort of
      >passage you are trying to play, this effect might be
      >useful.
      >
      >A related idea is to set controller 64 to respond to the
      >mallet position the bar (one-shot at stroke time or
      >continuously) you can control which notes sustain by
      >selecting where you strike the bars. Have each mallet on
      >its own channel. Be aware of which patch is written
      >first: the sustain action or the note generator,
      >different ordering will produce different effects.
      >
      >Have fun. Good luck to all you "sustaining" members of
      >the Luminaries List.
      >
      >-Mark
      >
      >
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      Chuck Fisher

      chuck@...

      http://www.riveting.com


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