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At 08:36 AM 7/22/2002, Rainer Straschill wrote: >just to make sure I get this correctly: if the distortion does come (as in >my case) from a FireworX or (what lots of guitarists might prefer) from a >Line6 distortion modeler, the effect turns into an "active" effect in you >vocabulary because then I can use one (or several) pedals to >realtime-affect >the parameters? No, just because you have the potential to use it as an instrument doesn't mean that you will or do. (most don't.) It requires you to actually interact with it musically and physically for that to happen. Do you? Otherwise, the processor is just sitting there, passively doing its thing. The transfer functions are loaded into the signal path and not changing, just passively transforming the sound according to their rules. You are not actively involved and not manipulating or modifying that transfer function in any active way. For me, that is what distinguishes something as an instrument. Your use of it is interactive, not passive. When you choose to make it interactive, then it starts to become more of an instrument. >And what about dynamic-sensitive effects? Playing them can be a "constant >musical manipulation" (as in some possibilities with the Vortex or even >weirder processors)? Again, it's how you use it. If you have dynamics mapped into some control of the sounds and you are actively manipulating that control in a musical way by changing dynamics of your playing, then I would call that a musical instrument. However, you could look at a limiter as a device using the same technical concept for its operation. It uses dynamics as a control on overall levels, probably to prevent clipping somewhere. Mostly people just turn it on and it sits there doing its thing without active musical interaction from the musician. I would not call that a musical instrument, I would call it an effect. kim ______________________________________________________________________ Kim Flint | Looper's Delight kflint@loopers-delight.com | http://www.loopers-delight.com