Why sure, Don. I have a lot to say on the subject.
I've been reading this topic from time to time even though I only understand every other word.
Please - dynamic control should not be an after-thought but central to your thinking, planning, building and coding.
I see no reason why a midi concertina, Anglo or otherwise could not have the feel and dynamic range of a real instrument, even a fine instrument. This matter of a very fine and quick response to dynamic changes would be key to making a pleasant playing experience for anyone, regardless of system be it Anglo, English or Duet... IMHO.
In general, the better the concertina, the softer you can play. My Bastari (inexpensive Italian beginners model Anglo) really only wants to play loud. Trying to tame those honking sounds takes a lot of work because when you get quiet, the notes just stop sounding way too soon (and also at an uneven rate). Playing with sensitivity is crude. On such an instrument, playing quietly takes more work than playing loudly. Don't build one like this.
My Jefferies (top of the line Anglo) plays like butter. The merest hint of a bellows change in pressure is instantly transmitted to the reeds from a scream down to a whisper. That's what makes it a great player. It's that fully responsive connection between what the mind conceives and what the machine delivers. I change dynamics to musically shape every note I play. Dynamics are the main expressive quality in the concertina. A narrow dynamic range in an instrument feels very dead and restrictive, not much fun to play. Please, in your work, emulate the best instruments and player abilities.
I would like to hear some kind of adjustable logarithmic algorithm that makes the bellows more or less sensitive to change at the quietest end of the dynamic spectrum... or perhaps to have several parameters of adjustments to control how sensitive a player wants to be at varying levels of loudness. That could be midi heaven.
Midi volume runs from 0 to 127. I want to be able to play expressively in the 0 to 50 range with only occasional outbursts above. That would give me the headroom needed for expressive playing and more closely approximate a real acoustic instrument that can growl and speak like a living voice.
Then there is the related issue of articulation.
If I load the bellows with pressure (in or out) and then depress a button it makes one kind of sound envelope. On the other hand, if I depress the button with no bellows pressure there is no sound. Keeping the button depressed and adding pressure makes the note sound with a different envelope depending on the pressure applied. This ability to choose which of these two articulation models is used is also key to musical sounding playing on the squeezebox and a realistic midi instrument.
The attack is quite audibly different between these two articulations and a midi controller would ideally be sensitive enough to realize these differences in the sounds. It's all just bellows pressure data plus note on and off commands. Really should not be a problem.
The reason why this is important is that all concertinas are very limited in their ability to vary the normal expressive qualities of timbre or pitch of a note... just compare their ability to that of string or wind instruments which can play around with this at will. The only expressive quality for the poor limited squeezebox is expressed in relative volume sensibilities and at that, the concertina can excel and find it's voice... if you make your midi with the capacity to play that way.
Edited by Jody Kruskal, 26 April 2016 - 02:52 AM.