I would lobby Yamaha to consider polyphonic aftertouch in an upcoming high-end synthesizer or midi controller.  With mLan, the significant increase in the data stream should be easily handled. You could select “Channel” or “Polyphonic” if you’re using old-style 5-pin DIN midi lines and having a problem with data choke.

I wanted see if I was the only one wanting this feature in a new keyboard.  My question to posters is:

I you were buying a new keyboard, would polyphonic aftertouch in a new product be a significant enough feature that it would push you to purchase that product over a competitor’s equivalent product?

My guess is the answer for most people would be no - for the simple reason that most people don’t know the difference. Only a select few(yourself being one of them) would require polyphonic aftertouch, or even recognize it.

The Ensoniq VFX and TS-10 had polyphonic aftertouch. As you can see, Ensoniq is long gone. Obviously this feature wasn’t what drove their sales (or lack thereof).

As a longtime sound designer, keyboardist, and owner of more keyboards over 25 years than even I can remember, I can honestly say that poly aftertouch would be “nice” to have, but wouldn’t make any difference to me in whether I purchased a product. I can only think of one instrument family of sounds where it would make a difference - guitar sounds. And that would just be a difference to me as a programmer.

Frankly, I usually find aftertouch implementation annoying. It’s too easy to trigger it when using harder velocities (playing harder). I prefer other controllers besides pressure.

Dave:

Thanks for replying to my post. I’m actually astonished others have not.

To me, polyphonic aftertouch seems like a natural extension of what a truly capable instrument should provide. I use aftertouch extensively and find it to be the most natural, expressive way to impart vibrato, filter changes, and loudness swells. With a well-implemented aftertouch system (the Motif ES’s is only mediocre), an instrument can be a joy to play.

Carrying a melody line within moving chord structures is basic to piano and organ playing. To be able to implement vibrato (or some other command) on that one note, at just the opportune moment, would seem to open avenues of expressivity that would take synthesis to the next level for those with the chops and musical inspiration to practice and pull off the art.

I’ve been out of the music industry for years after playing professionally for about 10 years in the 80’s. The last instrument I owned was a Roland MKS-80 module with a MKB-300 controller with no aftertouch at all.

Fast forward to 2003 when I got my ES, I was dismayed to find only channel aftertouch. I couldn’t believe after 2 decades, such a top-notch instrument would not have this capability. With all the beautiful sounds and emphasis placed on pulling the heart and soul from an instrument (and your music), poly aftertouch seems like a very natural control method, akin to the feeling one might have when applying vibrato on a violin.

You’re right, the ES’s aftertouch is too sensitive, particularly in the early 1-25 area (within midi’s 0-128 structure) and yes, you can set it off unintentionally very easily. I’ve spent hours tweaking sounds to make them truly playable to my style and to get the expressiveness I desire.

Don’t get me wrong, I’m not some tremendous musician, but I think I come up with some pretty beautiful melodic stuff on occasion. I would sure like to have the instrument that would respond to my playing in the manner I desire and keep up with me, musically speaking.

I’m currently on the lookout for a Kurzweil Midiboard controller which seems to be the interface of choice for those looking for poly aftertouch.

Scott in Ohio

DavePolich - 16 March 2009 10:25 PM

My guess is the answer for most people would be no - for the simple reason that most people don’t know the difference. Only a select few(yourself being one of them) would require polyphonic aftertouch, or even recognize it.

The Ensoniq VFX and TS-10 had polyphonic aftertouch. As you can see, Ensoniq is long gone. Obviously this feature wasn’t what drove their sales (or lack thereof).

As a longtime sound designer, keyboardist, and owner of more keyboards over 25 years than even I can remember, I can honestly say that poly aftertouch would be “nice” to have, but wouldn’t make any difference to me in whether I purchased a product. I can only think of one instrument family of sounds where it would make a difference - guitar sounds. And that would just be a difference to me as a programmer.

Frankly, I usually find aftertouch implementation annoying. It’s too easy to trigger it when using harder velocities (playing harder). I prefer other controllers besides pressure.

Ensoniq might be gone but TS-10’s sure fetch higher prices on eBay than a classic/ES Motif.  I’m always getting outbid on TS-10’s that are on the auction block. Until I get a TS-10, I have my TS-12 and SD-1 to keep company with my Motif ES7 and my other keyboard toyz.  It still surprises me how no other company snatched up the R&D;guys from Ensoniq who created the VFX/TS series and it’s highly intuitive sequencer interface----a stand alone version could easily compete with the Akai MPC series.  But I digress, polyphonic aftertouch is THE coolest thing about my Ensoniq SD-1 and the reason I refuse to part with it.  I keep hoping that one day I’ll read about how Yamaha has acquired some intellectual property that resembles an Ensoniq with poly aftertouch. Nice to dream, anyway........