@PolarBear said:
Hm... also viewed the baton test video partially - do you actually exaggerate at some point where one could believe it would be completely random conductor thoughts? Interesting idea though to connect various parameters to one controller...
I don't really understand your question. Sorry.
BTW, regarding "connecting various parameters to one controller" ... well, it's really multiple controllers on one device. In other words, three axes of motion can be mapped to three different controllers. Also, the various buttons on the controller can be mapped not only to MIDI notes (for VI keyswitching, for example), but also can be mapped to commands controlling the host software, such as "stop" and "rewind" and "play." On top of this, the various sensitivities can all be adjusted (indeed, must be adjusted) according to the demands of a particular piece of music, and conducting style. This is all done with off-the-shelf software and hardware (Wii, OSCulator, Logic and VI).
I now use this setup in real-world commercial projects. For instance, I just finished a CD for a soloist in which he is accompanied in real-time in the recording studio. You can see some of that on the video on the Fauxharmonic home page. I can't tell you how amazing it is to have the ENTIRE orchestral setup (computer, VSL, etc, etc.) all hidden away from the soloist ... and all we have to do is simply play the music.
Unfortunately, of course, I can't use any frozen tracks. So, I'm always dangerously close to getting the dreaded pops and clicks associated with pushing disc, RAM and processors to their limits. But, having used VSL since 2003, I am confident we will continue to see swift increases in computing power. So, it's now just a matter of money and/or time (wait, time = money, so I guess just "money") before real-time performance without using VI "optimized" tracks or frozen audio tracks -- and having a full orchestra on hand -- will be the standard work-horse of my studio. (Anyone could do this now, given enough money, and I would be happy to help set it up, if you like.)
In November I'll be conducting a performance of the 2007 adagio contest winning piece, live in concert at Barge Music in NYC. And after that, it's the Beethoven symphonies! So, the dream of the digital orchestra becoming an actual musical instrument, as opposed to only a non-real-time studio production tool, is being realized!