On hacking instruments

2015, Victor Zappi, Andrew McPherson

Many digital musical instruments (DMIs) are created every year, but very few of them have a long life and a wide diffusion. Even within the relatively small DMI performer community, it is common to see a beautifully crafted design being put aside when a new technology is made available. By contrast, familiar acoustic and electric instruments have acquired their current identity through generations of design revisions and performance practice. Why is it so common that even the best DMIs disappear after a few performances, or at best, are used in the longer term by only a handful of musicians?

Contemporary Instruments: Notes from a Bricoluthier

2015, Ken Butler

Given the constant output of large variety of sonic devices from contemporary technology, an important distinction in characterizing a contemporary musical instrument, in my mind, is the clarification of the overlap and characteristics of an “instrument” for making music and a “controller” for making sounds.

Hybrid Interactive Instruments — thoughts on the Endangered Guitar

2014, Hans Tammen

I play guitar since 1972. I usually improvise and noticed early on that my improvisations were best when something unexpected and surprising happened, something that kept me on the edge of my seat. Such as strings breaking or sound-making gadgets falling off the guitar. However, these surprises were not under my control.

Learn the sensor

2014, Dominik Hildebrand Marques Lopes

For me, it is always important to learn the sensor.

(in a discussion in which he explained why he attaches simple sounds to sensors before using them in more complex mappings)