Establised in Singapore in 1998, my goal as Director-Composer with my friend and colleague of many years, Michael Spicer, who acts as consultant, was to create and market music technology for music applications.
As we build a track record of being able to come up with new and fantastic ideas, we became the first call for many needing corporate, theatrical and original show ideas.

In 2003 and with a slew of clients firmly under our belt, I decided to return to  music making that would bind my past with my present, traditional with new technology in the electronic-fusion concept known as Xenovibes. Since its premier in 2004 Xenovibes and I have played to various crowds in many countries and have had many wonderful artists perform my music. I have been resident in America as an Artist of Extraordinary Ability since 2005.

I hope to continue to entertain people from all walks of life! Feel free to drop me a note anytime. You will also find me on Twitter and Facebook.

our instruments by shueh-li ong

a midistrummer
listens to chords played on your MIDI keyboard and plays them back to your MIDI synthesizer just as they would be played from a guitar.
By looking at such factors as the range of the guitar, the number of notes being played, chord position, and the velocity of the performance, the “Strummer” can transform the incoming MIDI data out into performance data emulating that of a real guitarist. Performance data may be delayed, echoed, harmonized, transposed and sent back out on multiple MIDI channels.

midiwand
is a MIDI controller which generates and sends 2-D positional coordinates to a Midi synthesizer or to a computer for further processing. Designed by Jim Sosnin, a midi hardware inventor and long time friend in Melbourne, this wand is shaped exactly like a baton which you can wave around this 2-D matrix (X and Y) in its basic mode, to send out pitch and volume Midi instructions.
Featured in tandem with CSOUND in a play by The Necessary Stage in Singapore, 2001 (original music and live performance by Shueh-li).

the vocoder
was intended by Homer Dudley (1939), a research physicist at Bell Laboratories, NJ USA, as a research machine for compression schemes to transmit voice over copper phone lines.
W Meyer-Eppler, then the director of Phonetics at Bonn University, recognised the relevance of the machines to electronic music after Dudley visited the University in 1948, and used the vocoder as a basis for his future writings which in turn became the inspiration for the German “Electronische Musik” movement (from website “Obsolete, 120yrs of electronic music”).
The earliest use of the vocoder was by Wendy Carlos for synthesized singing in her score for Stanley Kubrick’s film A Clockwork Orange (1971). It is featured in our Electronic Operas.

pvc system
is made from PVC tubing, cut, spray painted and attached by screws, is connected to the sound generator portion of the synthesizer. This system is appropriate for wide gestured movements e.g. playing percussive sounds.

pvc didjeridoo
carved to play in the key of the piece of music. The technique of playing is circular breathing, vital in maintaining the drone and while allowing the player to take in fresh air.

a theremin
is a spatially-controlled musical instrument invented by Russian Scientist, Leon Theremin around the 1920′s. It is played by waving both hands, while remaining absolutely still, in front of the 2 antennae. The RH controls pitch while the LH, volume.

wx7 wind-controller
taps into the sound generator portion of a synthesizer and emulates the performance nuances of a clarinet/saxophone, and like all MIDI instruments can be configured to do other performance functionalities.

the guqin
is one of the oldest Chinese musical instruments, most profoundly utilized throughout the Confucian era (600BC-1900 AD). This black silk-stringed zither, in accordance with the Confucian Way, was used as a vehicle for worship, formation of character, and regulation of political life of the state.
The Confucian Superior Man/scholar was expected to be skilled in four arts: Qin (the guqin), Qi (the game of Go), Shu (calligraphy) and Hua (painting).

In its present day form, nylon strings are used. Each instrument is a work of art. Craftsmen still study under the supervision of the master teacher. Performance techniques are passed on by word of mouth though there is hand written technical exercises prepared by a master Gu Qin player who is attempting to formalise such techniques.(**Music and dance are constant features in the writings of Confucianism as they perfectly embody the humaneness and wisdom of their composers.)
Not to be mistaken for the Gu Zheng (lap harp), which has a resonator, an arched surface and is an elongated-trapezoidal with 16-25 strings stretched over individual bridges. The GuQin has 7 strings and no bridge. Symbolic in Chinese high culture, the upper surface is rounded representing the sky; the bottom is flat and represents the earth. The 13 mother-of-pearl inlays along the outer edge represent the months of the lunar year.
The 5 strings of the GuQin symbolised the five elements of I-Ching: Metal, Wood, Water, Fire and Earth.
The 6th string was added by the first ruler of the Zhou Dynasty, Emperor King Wen (about the 11thC BC) to mourn the death of his son Bo Yikao. The sound of this string is sorrowful. The 7th string was added by the second Zhou ruler, King Wu to inspire his soldiers in war. Sadly only a few thousand people can play it, and it is rarely seen in China today.
(quoted from the Clarion Music Centre, Chinese Instrument library and Richard Hooker on Neo-Confucianism)

Guqin master cheng yu [March 2002]

The purpose of my trip to London was to learn from Cheng Yu, pupil of Liu XiangTing, master GuQin practitioner.

Cheng Yu was to perform with the UK Chinese Ensemble at the Purcell Room and I was invited to the concert. The experience was totally mesmerising, especially Cheng Yu’s solos on the GuQin and Pipa. I was amazed at the range of techniques and tricks employed on both these instruments. The experienced was an eye-opener into the flamboyance of the Chinese and their music. It is of interest to note that the so-called Chinese Classical music commonly performed on stage is a very controlled almost staid version of the surreal and eccentric performance I was exposed to at the concert.

Guqin Tablature ~ by shueh-li ong

The study of the GuQin tablature for me has been an interesting and mind-boggling experience. This form of notation was created to assist the modern method of teaching, the former, being aural in nature. Pupils are still encouraged to look, listen and reproduce. Laid out in quadrants, the instructions for both hands are read either L-R, Top to Bottom or Across, I ended up crossed-eyed many times. To aid in explaining the complicated nature of GuQin technique, Western notation is utilised with a form of transcription using Chinese characters.

These transriptions denote such things as the position of the LH on the inlays (there are 13 of them laid from RH to LH on the top outer corner of the GuQin), type of stroke by the RH or LH etc.

Figure (1)

Reading Tips ~ assembled by shueh-li ong

Fig (1) demonstrates this form of notation. The 1st one is for the LH and requires the deployment of the thumb on the 9th pearl inlay, gliding up to the inlay on the 6th string while the RH middle finger flicks down.
This symbol means an open string pluck by the RH.
The next character is divided into kind of a quadrant.

The top of the “T” denotes 2 strings played simultaneously using the mid and index fingers of the RH. One is on the open 4th string (SW quadrant), the other on the 6th string, 9th inlay, sliding up (SE quadrant).

The LH range of techniques is much more complex than the RH in that it executes a wider variety of movements such as the production of the slide tone (portamento), picking harmonics, flick/plucking and even slapping (such as by the thumb).

Amongst the more “painful” techniques include the use of the ring finger bended at the 1st finger joint. This point of contact between the flesh and the string is employed in two ways; to shorten the string in pitching or sliding up and down the string for a portamento effect. Other fingers that are also called upon to execute the slide technique include the thumb and the middle finger.

Figure (2) Xia Ji

Fig (2) top LH corner symbol denotes the bended ring finger and thumb flick combination. On the 10th inlay .

Figure (3)

Between each inlay are 10 discrete intervals or markings. Fig(3) shows an instruction  for the LH placement on the 9th interval marking of the 7th inlay; counting towards the 8th inlay. Or in other words, the 7 + 9/10 inlay.

Fig (4)

Fig(4) shows the use of the water symbol to instruct the LH to glide down on the 1st string with the middle finger.

Figure (5) Da

FIG (5) This is the symbol for the LH thumb slap on the 6th string, 9th inlay.

Theremin in Maryland by shueh-li ong [May 19th 2001]

The purpose of my trip to Maryland was to meet with theremin enthusiast, maker and performer of many years, Arthur (Art) Harrison. A visit to the Clara (she “single-handedly” brought the theremin to fame) Rockmore exhibit at Maryland University, and Dr Bruce Wilson, Head of the Performing Arts Library and exhibit curator, made the trip complete.

When I was first introduced to Art’s theremins, I immediately noticed the difference in the appearance of his instruments compared with the theremin design with which I am more accustomed. Besides their aesthetic value, and the much smarter, utilitarian placement of power and audio jacks on the back panels of the instruments, Art has spent considerable effort developing theremins which use plates, instead of the usual monopole and loop.

Art has favored sine waves for his primary timbre. While the area of tone quality is an interesting and vital consideration for theremins, his emphasis has been in finding ways of improving some of the more technical aspects of theremins, e.g., temperature stability, signal-to-noise ratio, ease of calibration, and ergonomics. By the latter, I refer to the volume and pitch controls. The inversion of the volume parameters; closer for increased volume, and further for softer volume, in my opinion, made for more natural and expressive performance gestures, especially when applied to phrasing. When the range of volume control was reduced, staccato could be achieved by bouncing the finger off the plate, without causing a “glitch”.

I also discovered, much to my interest, that his pitch plates were placed horizontally instead of vertically. This eased the strain I would normally endure in my pitching wrist, which occurs when one’s hand is tilted toward the monopole in the traditional theremin, when compared to the relaxed palm-down position. I shall leave the more in-depth technical details to be read from “Art’s theremin Page”.

Amongst all of Art’s diverse prototypes, his Cigar Box theremin most demonstrated his sense of humour. I should mention humour also in his choice of “repertoire” which included Donna Summer’s Hotstuff(!!), Gershwin’s Summertime, a few Micky mouse tunes and old show tunes.

Here, I will list by name, a few of his theremin creations: The “633 theremin” with a switchable volume map for those who prefer the traditional volume response, the “144″ and “145″ theremins with an almost ethereal bassoon-like sound quality, his auto-calibrating VCO (voltage controlled oscillator) voiced theremins, and the “146″ model with a pitch range of 12 octaves and a timbre control function. Not forgetting his Optical theremin, which needs to be played on axis. While some of these theremins are of the “synthetic” variety, in which the tone is generated by a 7-octave range VCO, others, such as the “144″, “145″, and “146″ instruments are of the heterodyne variety.

Each one of Art’s theremins had its own characteristic sound which, to my own surprise, I had come to identify in the course of my visit. Though he repeatedly brought to my attention the high signal-to-noise ratios in many of his theremins (and there was), I was more intrigued with his multitude of efforts in designing such a variety of theremins, all which have their distinctive “voice”.

I found myself relating to each instrument as if they were individuals in their own right. The bassoon-like “144″ was just as intriguing to play as another one of my favourites, the Harmonic theremin, in which six knobs permitted timbre manipulation using additive synthesis. The resulting sound emanating from a few pot adjustments were, to my ears, like angels singing in harmony. I was imprisoned in a room full of theremins, and wished I could take them all home with me. : – )

I appreciated also, Art’s progress in making calibration all the more effective. Improvements in this area are of great reassurance to the performer, where a change in temperature, or a long-term absence from the theremin (e.g. while waiting in the green room) could mean a shift in parameters. (Retuning a theremin does not bring about the same response from the audience, or other members of the band, as retuning a violin, especially in the middle of a piece where being able to “hear” the instrument clearly and loudly enough to tune is absolutely mandatory. (refer to Blurb from The Art of theremin in the next section)

I thoroughly enjoyed engaging in much rhetoric with Art. This was especially so when it came to the impalpable, such as the spirit of performance, general misconceptions and mischaracterizations of energy in performance and expression, the tendency for some observers to over-simplify the amount of work involved in executing electronic music performances, aesthetics, the concepts of stream of consciousness vs formulaic playing, and performance ergonomics.

the Clara Rockmore Exhibit by shueh-li ong [May 20th 2001]

Maryland University’s Clarice Smith Performing Arts Ctr. had put together a Clara Rockmore exhibit which began its life in New York’s Steinway Hall, with the blessing of Steven M Martin (film footage), Clara (her personal theremin), Bob Moog and other contributors. This exhibit was brought back home to Maryland thereafter and was to end its month-long stay in the Library when we visited.

Ms. Rockmore’s sister, Nadia Reisenberg, was an accomplished pianist, and frequent accompanist to Ms. Rockmore throughout her theremin performance years. The University’s International Piano Archives produced a collection of Nadia Reisenberg’s recordings in the compilation, “An Album of Chamber Music”.

Dr. Bruce Wilson, Head of the Performing Arts Library, was very kind to take Arthur and me on a personal tour of the exhibit, beginning with a short documentary film made by Steven Martin. The film consisted of the only surviving footage from the Sherman family’s archives showing Clara playing violin as a young girl, and an excerpt from the “Camera Three” interview with Clara, her sister Nadia, and Robert Moog. Also included was footage of Clara’s 18th birthday party for which Leon Theremin had invented a device that spun a cake on a motorized platform and lit its electric candles when she approached it, as well as scenes from Mr. Martin’s more comprehensive documentary, “Theremin: An Electronic Odyssey”, in which Mr. Martin reunited Leon Theremin with his protege, Clara Rockmore, shortly before Mr. Theremin’s death in 1993. (Clara Rockmore first met Leon Theremin when she was 18.)

We witnessed a 1991 photograph of Ms. Rockmore’s pupil, Dalit Warsaw, being given a lesson by Clara, and other photographs taken by Steve Sherman, the son of Clara’s other sister, Anna Sherman, only surviving sister living in Manhattan. (Both of Clara’s sister’s married cousins by the name of Sherman.) It was also at the exhibit that we discovered that Ms. Warsaw was bequeathed Clara’s Theremin-made theremin. Watching video footage of Ms. Rockmore’s performance, I noticed the familiar animated use of her eyebrows for expression, typical of her performances.

I made note that, according to Dr. Wilson, Ms. Warsaw had her pitch wrist bandaged during the exhibition in New York. This led me to consider my own ailment in a similar area and the alternative design offered in some theremins, including Arthur’s.

A little Bio on Clara

Clara Rockmore (nee Reisenberg, Russian, husband Robert Rockmore, an American lawyer) was the youngest of 3 musically gifted daughters, who began her music life at the age of 4 playing violin. She was one with absolute pitch.

She had met Leon in NY while on an extensive tour and found his theremin to have enormous potential. According to records she had joint problems in her bowing arm and so the performance nature of the theremin had an added appeal. She worked with Leon on the refinement of the theremin as a sensitive instrument and thereafter become its main proponent. In fact her personal theremin was specifically developed with her aerial fingering in mind; rather then moving her hands to and from the antenna, she would change the shape of her hand to change the pitch. More on Clara can be found in abundance on the internet.

Fact/Figures on the Theremin ~ assembled by shueh-li ong

Leon Alive?

It was Steven Martin who discovered Leon Theremin, still alive in Russia, while conducting research for his documentary. Leon Theremin, whose Russian name was Lev Sergeivich Termen, had immigrated to the United States in the late 1920s to promote his invention. In 1928, at age 31, he became New York’s celebrated Professor Leon Theremin. About a decade after his arrival, he mysteriously disappeared, and was presumed dead. In 1991, Director Martin brought Leon Theremin to the United States to make his documentary, which includes a scene in which Mr. Theremin recounts his kidnapping by Russian agents so that his technical expertise could be availed by the Communist government during the Cold War. Ironically, Theremin personally demonstrated his invention to appreciative Soviet Dictator Lenin just prior to his immigration to the United States.

The theremin heard

The theremin has been featured in a diversity of performances ranging in genre from Led Zeppelin’ s “Whole Lotta Love” and “The Song Remains The Same” in which Jimmy Page puts on a most spectacular display of theremin manipulation on a version without the volume control antennae, to Alfred Hitchcock’s film score for “Spellbound”; by composer Bernard Herrmann in “The Day the Earth Stood Still”, and in modern compositions such as Jorge Antunes “Mixolydia”, among numerous others. Pink Floyd has the theremin on the middle part of Echoes “Meddle” (according to thereminworld.com’s directory of other bands who use the theremin).

The Electro-theremin: a mechanical controller of sine waves

Contrary to popular belief, the theremin was not used by the Beach Boys in their composition, “Good Vibrations”, written by Brian Wilson. It was in fact the “Electro-theremin” or Tannerin, also known as Paul’s (Tanner who played the now famous line on “Good Vibrations”) Box. Made by actor and electronics enthusiast Bob Whitsell, the name “Electro-theremin” was given at the time of the recording session by the producers.
The Electro-theremin is not a proximity-controlled instrument like Leon’s theremin, but a mechanically controlled oscillator. This permitted the performer precise note control without sacrificing the characteristic glissando effect of the theremin. This was indeed the request Paul Tanner had for Bob Whitsell.

An excerpt from a review by Jon Pareles of the NY Times (Y2000), implicates the Tannerinin Brian Wilson’s recent solo tour “they took along many of the instruments Mr. Wilson used on Pet Sounds,… tannerin, the instrument actually used on Good Vibrations and I Just Wasn’t Made for These Times.”
The rectangular box-like instrument Mike Love played on earlier live versions of Good Vibrations was in fact the Moog ribbon controller, an instrument developed for the Beach Boys in the 1960′s for use in live performances

Blurb from The Art of theremin

NB. The Art of theremin is a recording of classical pieces performed by Clara and accompanied by Nadia.

… The theremin performer plays without the benefit of any tactile reference whatever. Unlike the violinist, who is in constant contact with the instrument’s fingerboard, … the thereminist feels no shape or force as she moves from one pitch to another. She is constantly moving her hands, listening to the resulting pitch changes, then “trimming” the precise position of her hands to home in on the desired pitch and volume. The process is one of continuous aural feedback. For this reason, placement of the theremin loudspeaker is extremely important… Ms. Rockmore uses a large open-backed speaker which she places behind and slightly above her head, pointing out toward her audience. With such an arrangement, she is able to hear the effect of her hand motions soon enough so that her audience is rarely, if ever, aware of the aural feedback corrections that she intuitively applies.

Trivia

1) The theremin was also known as the aetherphone.

2) An article about faking the theremin is written by Sam Inglis: Handwaving Exercise: Reproducing theremin sounds using a synthesizer in: Sound on Sound Magazine (UK), p.162 – 164.

3) The Kurzweil 2500 offers its ribbon controller acting on pitch, as an alternative to a real theremin.
4) Another theremin personality of interest is Dr. Hoffman, who, in the early 1940′s was a chiropodist by day, thereminist by night. Look out for Doctor Hoffman in albums Music Out of the Moon, Perfume set to Music, Music for Peace of Mind and theremin piece This Room is My Castle of Quiet which I had the pleasure of listening to at Art’s. Dr Hoffman’s theremin “lounge” music was as you could say, diametrically opposite to Clara’s classical renditions!

Discussion on basic Sound Design Techniques by Shueh-li Ong

This post was made after my interview with Passion 99.5FM Singapore. There was an overflow of things I wanted to mention so I decided to place them here instead.

what is sound design?
The term sound design has been greatly misunderstood and borrowed. In this short dissertation I will be referring to production (live or studio) manipulation, transformation and assembly of desired effected sound, rather than the putting together of a sound system for venue installation (ala in a hotel or for architectural acoustics) OR recording snippets from CDs for a theatre play.

do I need to know the technical?
A good grasp of the theory of sound, psychoacoustics, scales, modes, harmony and voice leading, and stylistic and idiomatic interpretation (and a bit of of a wild streak) is necessary in good design production.
I use my various tools and understanding of these techniques to help me dream up new ideas. Sound design is complex. Tools may make it easier, but? to get innovative sounds out of your tools you need to know and imagine beyond basics. To emulate a sound e.g. of something crushing, you will also need to analyse it, prototype it in your head or on paper, then be able to think of a way to reproduce it. Nothing comes easy.

is pitch correction, cheating?
This obsession with pitch correction and whether it is a form of cheating, is I feel a very subjective issue.

An authentic live performance is a grueling exercise, even more so if one is playing an instrument at the same time. In a situation where monitoring reinforcement is weak or ineffective, the singer can totally lose the music hence sing “out of tune” with the backing musicians. Can you imagine trying to hear yourself speak, let alone sing in a noisy room without amplification?
Without citing singers who “can’t sing to save their lives”, I’d like to add that the word ‘Cheating’ is a value judgment. Some musicians utilise the assistance of pitch correction to help them deliver a more “accurate” performance. Other use this technique to create an effect, e.g. Cher in her song “Belief” where glitches appear courtesy of technology.
Loosely speaking a transposition of pitch in real-time without the compression or expansion of the time scale.
Transposition makes resonant frequencies rise, so to put a voice through an instrument pitch shifter, you will end up sounding like a chipmunk. To avoid altering the character of the voice, we need to change the frequency and KEEP the resonance (the vocal cords is the pitch source, the vocal track is the resonator effector.)

HOW CAN TECHNOLOGY ENHANCE THE END RESULT? To enhance is to beautify. To correct is to change to a “right” state if there is one.

reverberation…to smoothen out the rough edges
To understand what reverb means, step into your bathroom and belt out a song. Then step out into your living room, belt out the same song, and hear the difference.
In some instances, singers have been so used to hearing themselves ‘reverbed out’, that in recording studios a little reverb is added to their voice while they are singing, though what is put down on tape is “dry”. This accommodation can backfire if the singer gets too comfortable hearing their voice swimming in the reverb and does not give a “clear” rendition.
I tend to work from both angles as performer and producer. I assess the “effected” version after tweaking the selected effect and “redo” the vocals to get what I desire. OR So I might alter the way I sing/play to get the desired “effect”. There are even foldback monitors out there which come with a mini-mixer to allow the performer to tweak amount of reverb for their own performance comfort level.

echo/delay
To create distance/space/place in the sound field: enhance stereo placement of instruments, and make the mix sound ‘bigger’.
With analog tape machines, the delay was one of the easiest effects to produce, hence first to be used in music recording. This was before you could buy dedicated delay machines. Now we have multi-effects machines with a library of programmable patches!
Length of delay changes characteristic of echo. Used with regeneration (feedback) it is similar to a multi-tap that fades.

multi-tap delay
Multiple delays occurring at user-determined intervals to create a pre-defined pattern(s).

formula to calculate a naturally occurring delay time
Divide the tempo (bpm) of your piece by 60,000, then by 2,4,5 etc. These days, machines come with a feature called tap tempo delay where you simply tap along with the song to get the “right” interval time. However for more complex patterns one will have to get right in and manually tweak.

ALTERED SOUNDS, HOW and WHERE IT IS USED? As an effect that is foreign or to bring out a particular characteristic of the sound.

[transformation...disfigurement of the natural characteristics. Implemented on voice, it allows us to change the vocal characteristics more naturally; such as the noise and resonance factor, inflection and vibrato.]

ring modulation
Multiplies one signal by another ; a form of amplitude modulation. This form of modulation can lead to a quite noisy and inharmonic spectrum if the two source signals are complex spectra.

vocoder-ing
Simple system that uses two sound sources, a carrier and a modulator. Makes the voice sound robotic.

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.