Now that was hot

Now that was hot

Thursday, August 12, 2010

OMG, you heard it here first. The sound engine soaring behind Jordan Rudess’s 6 Illustrative Pieces For Tripp’s Hyperkeys is none other that that shimmering tower of West Coast power, Omnisphere. Apparently Jeff Tripp is so drunk with the music he plans to suggest to Eric Persing that the Hyperkeys make its public debut at the 2011 NAMM show in the Spectrasonics booth. Tripp thinks this will garner mucho attention all around.



Thursday, February 24, 2011

ON THE ONE HAND, the prospective world premiere in the Spectrasonics booth at NAMM didn’t happen. Among other things, Jeff was under the misapprehension that Jordan wouldn’t be there to demo the ‘keys. But he was! There. Yuh can’t control everything. What’s more, after a year of courtesy and near misses, Jeff (he likes to speak of himself in the third person, they say) and Paul had the pleasure of spending a number of hours with Mr. Persing, at his shop, after the show, during which time E. P. quickly took control of the ‘keys and its editor . . . the perfect guy, the quickest of studies, the prepared mind; we did a lot of listening. When Eric said one of a number of particular flattering things about the Hyperkeys, I said “Better watch what you say, I’m taping this, you know.” “Go ahead,” the Big Man said, “I mean what I’m saying.”

The Organ ‘Thing’

Check the  DEMOS page for the debut of the the mighty HK-EVB3 organ.

I went into the recording encounter session unprepared. As you can see in ‘Comparative Organology’, to unembarrass myself, in the credits I coyly dissed my own work. It’s good to be the king. But enough about me. We’re here to praise Dave Limina, who just walked up to the Hyperkeys and grabbed it by the keys.

Sure, the difference between the two variants of Organic Organs and Inorganic Organ is a little contrived. If you didn’t have the power of a Hyperkeys at your fingers – and who does these days, really? – you’d  probably play a little differently. But there’s only so much differently there can be without a ‘keys. Really..

Organ was the original synthesizer, and additive synthesis still has a lot to be said for it. For example, it isn’t fundamentally out of tune when called on to perform full scale musical polyphony. Oh, you can slip some samples past some of the people some of the time, but, as Hot Rod Lincoln said, not all of the people of the time. 

FYI, there’s a lot of micro-ish pitch bending going on in Organic Organ 1, 16 cents of either side of center. You can feel just a few cents if you, you know, trust your feelings, and it’s an important element of how an instrument speaks, in the sense a fiddle or a bass or a horn does.

I find, listening through my OK Sony headphones, that  I don’t like Organic Organ 1 as much as I did in the studio originally. It could just be that JBL has not yet gifted me with those 8-inchers I covet. ARE YOU LISTENING, JBL? So I made a variant, Organic Organ 2, which is everything Organic Organ 1 is except the pitchbend.  Here’s what’s going on in variant (or is that Opus?) 1:


Hyperkeys 3-dimensional musical keyboard Editor by Paul DeRocco, David Mash, & Jeff Tripp (c)2011 by Perfect Fretworks

The OFFSET sets the initial conditions in the 8 EVB3s; DIP has a small amount of volume control (CCs 7 & 115); FORCE (what you call ‘poly pressure’)  has a substantial effect on Leslie speed, per note – of course it takes the traditional Leslie function a while to get up to speed, so this effect is only apparent in lush passages; PUSH makes a major timbral shift, 16 cents of pitchbend, and a sweeping pan; PULL makes an different major timbral shift, 16 cents of pitchbend, and a sweeping pan; PEDAL gives some all-at-once volume control.

Hand Me That Crown Of Thorns. Please.

Monday, October 10, 2011                                                                     Photo By Reuters/Ciro De Luca


This message is for Jeff Tripp, maker and owner of the Hyperkey and the establishment Perfect Fretworks. First, I would like to say that the Hyperkey looks to be an extremely expressive instrument, with a very original format. I really like the three dimensional feel for it.

I first came accross it on the website, and I immediately found your website, This is where it all ends for me. You come accross as a pompous, aristocratic douche bag, to put it lightly. Your website, which by the way looks like a child put it together, is full of stupid and snarky comments, which im assuming you personally wrote. My favorite has to be: ‘Price: If you have to ask, you cant afford it’. What the fuck does that even mean? Are you so full of yourself that you can’t even list a price? Do you NOT want customers? I personally, CAN afford it, unless its over $50,000, and if it is, than your even stupider than I could ever have imagined.

While it is a cool design, and a very good idea, if the average person cant afford it, how are you supposed to succeed. I see you only have 4 employees. That is probably because your not going anywhere, you will never take your business to the next level. Congratulations though! Jordan Rudess played your keyboard! He is awesome, but YOU are not. You pretty much lose any chance of getting any new customers through your stupid website.

I hope that you read this and take into account what I said. I NEVER go out of my way to e-mail people like this. I made an exception for you, because i hate seeing something so unique being made by someone so fucking stupid.

In light of recent events, it made me think. What if Steve Jobs marketed his Apple products the way your market your own? Apple, and Mr. Jobs, would have had a very different story to tell, and we as a people, would most likely not ever have the kind of cool gadgets we enjoy today.

Have a great day, and I hope that sometime soon, you take your oversizedhead out of your own asshole.


Name Redacted

Dear Name Redacted:

I have spoken to our accountants and marketing people and, regrettably, they tell me the current price is $50,001.

Yours in music,

Jeff Tripp

Hand Me That Crown Of Thorns. Please.

The Tripp Strip™

Tuesday, April 10, 2012      Photo: Phil Deutsch’s America (c)2012 by Phil Deutsch, All Rights Reserved

Once upon a time there was a truly inexpensive, really good linear MIDI sound modifier, whose surface was also its own programming interface. It was called – li’l children please look away – the Tripp Strip™. That’s just doesn’t sound as riskay as it used to.

A number of  real companies were shown the device, in confidence, whatever _that_ means. One of them even came out with something vaguely like it. But they weren’t Tripp Strips. Face it, Girl Scouts, the Tripp Strip tastes great – the others are all less filling.