"We Want Tools Not Oracles" - pg. 275
Unlike other chapters in the book where I was reading from the point of view of a builder and designer, I couldn't help but read this chapter through the lens of an end user or musician. In reading Chapter 5, I found myself reflecting on many of the pieces of new music technology I have used over the years, and their usability pros and cons according to many of the principles introduced in this chapter. The closing principle, 5.19, stood out to me most, because it gave me a comprehensive and fairly easy framework through which to analyze several pieces of technology that I have recently used in my repertoire. It also reminded me of what was mentioned earlier in the chapter and what Ge spoke directly about in class - the notion that we want folks to have a low entry point, but ability to create subtlety and difficulty in their artistic expression over time. This allows for a wide user base but a more narrow space for prodigious users.The first piece of technology I'd love to analyze are a set of devices called Sensory Percussion by Sunhouse. This company is based out of Queens, NY, and they have created proprietary drum software and hardware that I use in my music regularly. In fact, when I was invited to speak at CCRMA back in 2016, I demoed my music using Sensory Percussion. The technology is sensors that rest over the head of any drum in a drumset, and read the movements of a small magnet glued to the head of the drum. I can then program the software to perceive things like harder hits to trigger louder sounds, and softer hits to trigger softer sounds. I can also map certain regions of the drum to certain sounds and other regions of the drum (like the outer rim or side) to different sounds. Analyzing this through the lens of 5.19, this is absolutely a tool for drummers and musicians to express themselves in a completely different way. As a drummer, I can now use my drumming prowess to trigger melodic sounds and generate melodies that a traditionally melodic person might not. This creates really special and unique soundscapes. I would absolutely argue that the possibilities are endless and that you can create a lot of subtlety the more you spend time with the software/hardware. However, the entry level does not feel as plug-and-play as the company would want the user to feel. This is feedback that I would give my friends at the company often - I would tell them that between setting up the software, then the hardware, then using a dedicated interface to get them to talk to each other, then training the drum software and then choosing which sounds to map - the entire set up process would take just a bit too long. Also, when there are several steps involves, it makes troubleshooting more challenging because the problem can live in any number of spaces. Over the years, they have made small attempts to create integrations that reduce the number of steps required before you can actually play. This allows the user to just get into creating from the moment of inspiration, and for the technological experience to actually inspire some playing and prowess as well. To make the user/ player want to stay on and keep creating. So I would argue that Sensory Percussion is still high entry level, high reward, rather than low entry level, high reward.
The second piece of music technology I'd love to analyze is the Artiphon Orba. This is a semi-spherical, palm-sized musical instrument that allows the user to create instant beat and melody ideas through a series of looping. There is one drum patch, one synth patch, one chords patch and one bass patch. There are 8 buttons that form 8 slices to a circle on the open face of the sphere. As the lights go around, you an add another loop to your idea. The Orba can also serve as MIDI controller, and as a result, the company is building the option to use a dedicated software to switch out the patches as desired. I have watched many folks at NAMM, Moogfest and other music technology festivals get into creating music on the Orba within minutes of encountering it. However, I have rarely seen a user develop a beat or musical idea that is so complex as to create awe and wonder. The ideas feel pretty elementary and stay as such. The founders discuss the tool as a way to generate ideas, and possibly export the beat into a more complex DAW so as to continue developing the idea on other platforms, but I don't know if creating a tool whose sole purpose is be a stepping-stone makes sense to me. I think being able to have the option for dynamism, complexity and various use-cases would draw more folks to the product and the company, as well as allow for community building and long-term enthusiasm among its users.
Finally, I'd love to analyze the Ableton Push 2 as a piece of music technology that has a low entry point for the user to instantly create music, while holding space for an infinite range of hidden subtle complexity that can be accessed later. The Ableton Push 2 at its core is a MIDI controller that is a physical hardware representation of the Digital Audio Workstation called Ableton Live. It allows the user to have a physical reprentation of what they are seeing on their screen. As soon as it is plugged into a computer via USB, while Live is running, the buttons of the MIDI instrument immediately light up and are ready to be played. I could put the Push in front of a non-musician, and intuitively, the person could press buttons and feel excited and satisfied by the sounds they are creating. They could manuever certain knobs to arrive at a key they like, press a few buttons to experiment with the sound patch they'd like to use, and add in a few loops by pressing record. Instantly, the user is creating music loops and melody ideas that are quantized and in key with the click of a few parameter options. On the other end of the spectrum, I have watched producers and DJs make entire careers off their Ableton Push 2 prowess - wowing audiences across the world both in person and online - with their ability to create complex electronic jazz soundscapes, live experiences over teh courses of hours, sampled content that is manipulated live, and live looping capabilities that are unparalleled in other MIDI controllers. Even when I take lessons for the Push or meet other folks who are adept at the Push, I am blown away by how diverse their use cases are, and how varied the piece of hardware can really be. So in this way, the Ableton Push 2 is a great example of an interface that extends us without replacing us, and also pushes us by giving us the option for infinite creative potential!