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Source: Kohler Digital KD160 Ebony High Polish

by Chris Cartledge

Our Flexible Bow out study , posted earlier this week, shows how detached a controller that has aftertouch proficient controls can be. It can sometimes be demanding to acknowledge whether a controller has the goods or not though; one of the biggest stumbling blocks when it comes to aftertouch is the confusing way in which more than one purpose stakes affirm to the name. You’ll see extraordinary sources use rare argot but to the crush of my entente the most ‘customary’ is that aftertouch is synonymous with ‘polyphonic pressing’. Polyphonic (poly) strength is a communication that is sent alongside each MIDI note, and between the note on and note off matter a communiqu is sent out every while insist upon is mixed on the key/pad/other-note-generating-agency. There is, however, an additional compression communication in the MIDI ideal: narrows compel. Canal insistence affects every note on a fix MIDI watercourse and is therefore wholesome for replicating the bearing of a piano foot pedal, for exemplar. Poly compel is the ‘unwavering’ aftertouch, but manufacturers have sometimes called trench load functionality aftertouch in a facts in fact stretching energy to institute their controllers reasonable more qualified than they are.

Nomenclature aside, the bottom score is that controls with some mould of aftertouch are efficient of measuring varying demands on them; the proficiency to use a pad hurry to act one role and then lower something else whilst it is held down is something that we can use to illustrious ingenious intent. At least, in theory.

Unfortunately, the aftertouch communication isn’t very well supported in DJ software. None of the big softwares recognise it – Ableton Conclude only sees it for the purposes of note information recording, not its extensive mapping system. This isn’t the end of the period though, because it’s the corporal means we pains about and there’s always a way around the limitations of the software.

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