![]() if you invested 1/10 of your time writing here learning about it i think you may find answers for your questions. You seem to prefer to talk and talk, tell stories about your history and makes negative assumptions instead of being practical about learning. i also already said melbourne instruments are not so good in explaining/advertising it, it may be because this features are not fully implemented yet but it was already talked about in length at namm 2022. I already explained the features of the haptic feedback encoders one by one and i wrote examples of how they are beneficial with this synth. I’m not trying to be argumentative, but you are insisting that something beneficial occurs but have never explained what it is. Now, with that idea in mind, please explain how haptic feedback from interacting with the pots is something that you might actual want. Also, int that case, the haptic feedback is inhibiting you from accomplishing your actual intention of changing lanes. If you have ever driven a car equipped with ‘lane sense’ and deliberately tried to cross out of the lane you were in (without putting on your directional signal), the feedback you receive from the steering wheel is, indeed, 100% haptic. ![]() So, even though I am quite aware of haptic perception, I guess I still have no idea of how having motorized pots might be useful for interacting with them (hence the steering analogy). I only wrote it because of the way you were describing haptic feedback from the knobs. So, yes, the comment about car steering was a bit of an attempt at humor. I didn’t stay in that position long enough to complete the research, and most of the people I was working with thought I was nuts, but I really had high hopes for that kind of system. The idea was to give the sonarmen a new modality to use in combination with visual and auditory modalities for embellishing the perceptual experiences involved in waterfall display target detection. ![]() In the mid-80s I was working at the Naval Submarine Medical Research Laboratory in Groton, CT, where I worked on a system that used a matrix of small vibrator elements in the back of a vest (so the vibrators were spaced along the back) to produce a haptic representation of a SONAR waterfall display. In my real-world non-music job, I’m a neuroscientist. No, I am very interested in the topic of haptic perception. 1, 2022, any remaining units will be available at the full price of $3500.00.” The first 100 units ordered will receive an Early Bird Discount of $500.00, with additional units ordered before Octoeligible for an Early Adopter Discount of $250.00. These units will be individually badged and numbered. “We have a special first-edition run of 500 units only. ![]() NINA is available now to pre-order, starting at $3,000. Hackable open-source software control powered by Raspberry Pi 4.Multitimbral, layered, split, or overlapping.Stereo Infinite Panning effects with 4 Quadrant DCAs.Patch morphing for complex expressive effects.Quick edit, all sources to all destination. 4 pole transistor ladder VCF with modulatable resonance.Continuously morph wave-shape between triangle and sawtooth to find new timbres. Motorized recallable and automatable control panel using long lasting zero wear encoders with the feel and precision of analog pots.Melbourne Instruments has announced that the NINA, a 12-voice polysynth combining the tactile and sonic qualities of classic analog, with motorized patch recall and automation, is now available to pre-order.
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