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Quoting Raul Bonell <raul.bonell@gmail.com>: > Lovely as others stated. > > Hi Kevin, > > How about aesthetics? > I know some contemporary composers refused > the use of the theremin as a "tempered" instrument, > triying to emulate, regular stringed instruments or so... > Which are your opinions about? > Most instruments can play pitches other than those that correspond to the pitches of an equal tempered scale. What makes the theremin unique is that it is not biased towards any set of pitches. To play specific pitches on the theremin with consistancy is difficult compared to (for example) a keyboard. To hold long sustained notes on the theremin is somewhat difficult because one must constantly tune the note while playing it. Wide jumps are difficult however they are dramatic and very fun to play. Rapid passages are not really the theremin's strength -- even when played well they can sound a bit awkward. From an aesthetic standpoint, the theremin's expressiveness attracts me more than its novelty. > > Never listened a theremin player live, > but it seems to me that it's much more difficult o play > "in tune" with a beast like that, than just making "glissandi" sounds... > I'd say that the challenge is to play anything in a controlled and reproduceable manner. Even with Glissandi -- to play them in a controlled manner (speed, volume, etc) can be as demanding as one wishes to make it. > > I supose it's just the melody on top what you played with it.. isn't? > Correct. In "The Sad Little Ghost" I play a single theremin track. The other tracks are from my Kurzweil K2600 synthesizer. I used Cubase SX3. To keep a warm, natural feel to the tracks I didn't quantize anything. I did work with a "click track" however in a somewhat loose fashion -- enough to hold things together but not in a "quartz crystal locked metronome" style. > > 2007/11/1, Chuck Silva <any1particular@mac.com>: >> >> >> Did you compose all of it? > Yes, I composed it all. > >> >> If so I'd b very interested to know some details. >> >> For example: >> >> What DAW do you use? >> > I use Cubase SX3 with a Toshiba Laptop and an RME800 interface. > >> What soft synths if any are you using? > No soft synths -- I used my K2600 synth for all the tracks except the theremin track. > >> Apparently you are a trained musician? >> > Yes, I am. I have a Bachelor of Music degree with a major in Pipe Organ Performance. The degree included counterpoint and I studied composition as an elective. I never went on to grad school (went to computer school instead) however on my own I studied some of the standard graduate texts on Orchestration, Composition, and Theory. Fortunately, I have few regrets about my past however the choice to stay in Kansas City and not continue with grad school has always bugged me a bit. With the availability of the internet and distance-learning there is the temptation to do some graduate work. I probably won't but the temptation is there. :) > >> Do you compose the bulk of your music on a Keyboard-Theremin? >> > I started to play the theremin two years ago. Before then my music has been primarily for keyboard synthesizers. For composition, I use Cubase and my K2600. I developed a patch for the K2600 the mimics the timbres and attack of the theremin (though it doesn't sound like a theremin). When I compose the theremin parts, I sequence the notes and use the theremin patch as a placeholder. I then convert the theremin part to a regular score from which I memorize and play the theremin part. Every note that I played at Y2K7 was written out. > >> Who are you and what planet are you from? >> > I live in Parkville, Mo -- a suburb of Kansas City, Mo. You can find a little "chronology" on my web site http://kevinkissinger.com/chronology.shtml that tracks my lifelong interest in music and electronics. Given that, as loopers, we share an interest in music and technology you will probably find many similarities between my background and yours. :) > >> >> As hard as I try to be forward thinking and open to new and >> progressive music, it's refreshing to hear something inspired in the >> more conventional manner. > Glad you found it refreshing. > >> >> Indeed it seems to me it is best to be trained in convention. Then >> one can take that power and push the envelope. > Or, I would add, to have experience and/or familiarity with vintage music (regardless if the knowledge comes from a conservatory). To work without such information might result in music that is completely unique without influence from anything else although the result often re-invents the wheel. > >> >> Thank you for sharing that 'oh my god soooooo awesome music'! :-) >> > Thank you and so many others for the encouragement. My looping work to date as been fairly rhythmic -- mainly to help me stay in sync as I layer the music. I want to create something slow and expressive that is entirely live-looped. Imagine those long notes echoing around a surround-system! Thank you for asking questions about me and my music. I appreciate the knowledge and contributions of the looping community and I am honored to be a part of it. Sincerely, Kevin