On extended interactive multimedia techniques

Extended Interactive Multimedia techniques explained by shueh-li ong

I began investigating this area alongside post-graduate research into the role synthesizers play musically and theatrically in live performance, and the repercussions of technology on music education.
The computers made available to me then was my Mac SE30 for Music and my trusty Amiga for 2D-3Danimation.
It all begins with extended keyboard techniques which involves the programming or reorganising of the performance surface (i.e. synthesizer keyboard.) Separate from manipulating the sound generator of the synthesizer, this reorganising empowers the performer with functionalities outside the basic one-hit one-note and one-hit one-sound correlation.

It also refers to the multiple roles a synthesizer can be programmed to play besides its obvious role as a musical instrument. This technique has been around for as long as synthesizers have been, freeing musicians to dream and perform complex music compositions. Basic extended keyboard techniques include keyboard splits and velocity triggering.
The return of the prodigal arpeggiator marks the interest once more, in the once popular hybrid synthesizer version. Recently also made fashionable by Trance music, an arpeggiator works much like a midi sequence that is looped. However, instead of playing back a pre-recorded composition e.g. songplay, you program in control parameters which you activate live.
Some of the basic control parameters you might order are: tempo (bpm), note rate (e.g. 1/4 beat), duration of note (i.e. staccato or legato), note shift (transposition) and order of notes (in which direction the notes move).

alternative midi controllers
These instruments tap into the sound generator portion of  a synthesizer and act as alternative performance input devices.

midi processing
These processors transform and manipulate Midi and performance data.

Electronic Operas (dramatico works by shueh-li ong)

Alternative controllers such as the wind-controller and the home made percussion trigger system were hooked up to activate the synthesizers as part of the set for our electornic operas “A Tale of Metal and Music” and its sequel “The Timega Theory”.

interactive graphics in performance
Pre-constructed computer graphics were evoked by programmed synthesizer set-ups, while in other scenes a “life” generation audio signal created organic patterns.
In “The Timega Theory” alternative midi-controllers interacted intuitively with the graphics while others display the performance nuances of instruments they mimic. Segments of the show have performance parameters conducting computer graphics. All these contribute to the spontaneous real-time intention of the show. Each show is therefore uniquely of its own construct.

the power of ext kb techniques
Ext KB Technique exposes the synthesizer’s true power, showing it off as a legitimate musical instrument and not merely a piano substitute.