That's interesting Tony.  I always had the impression that I would be able to blow in a somewhat similar fashion to a flute/clarinet-type of wind instrument (I play the flute as well), rather than swishing mouthwash through teeth (which I read as blow/suck alternately).  Anyway you have convinced me to get one and try it!

Yap, sorry, I couldn't think of a better analogy(g).
This method works O.K., but is highly dependent on response curve settings, which is set in the graphic editor you'll find on the TEControl site.
Very simple to use, very easy to store settings.
There needs to be some leakage, at least for me.
I also am evaluating a home-made spit collector, but most of it comes out at the head-set vent.
Nor is much apparent in the clear section of hose I use to monitor same.
 
Hope this helped.
 

Tony S
I've had the TEControl UNI MIDI breath controller for several days now and am loving it.
I was unable to get it to work  USB only so plugged the MIDI cable into the MIDI Thru on my Kurzweil K2600.
 
I also bought the TEControl headset, which I wear like a harmonica holder.
There are learning curves both as to "pneumatic"set-up  with controllable, and to me, necessary, leakage, technique, and embrochure, and instrument set up. (No, I haven't got a good duduk,yet). I am starting to learn passable vibrato with it...think swishing mouthwash thru your teeth.
Total cost ~ 180 Euros, and I received the unit in about a week.
Total game changer, musically, and highly recommended..
 

 
Wow, that controller is amazing. Didn't know such a thing existed, I had to order one after seeing the videos. Thanks for sharing.
 
 

I didn't read this entire thread but felt the need to at least echo rumleymusic and Rbh. One thing any midi user has to consider is how good their samples are as well as to compose FOR the samples you are using. This is super important...but the most important is how they are created/recorded in MY opinion.
 
Here's a prime example. I have a student that is an absolute stickler for instrument programming. This gal will go to the ends of the earth to program a drum kit or midi piano. What's even cooler is she always uses the best sound libraries known to man.
 
At the moment, her quest is to be a better engineer with a more realistic studio sound. One of her biggest issues? Programming is her downfall. If she programs a drum line and I play the line on my V-Drums or my real kit with triggers using the same exact drum samples, my parts win every time and they also make the part sound 80% more real.
 
She'll do the same with a piano and then I'll play the part...the same thing happens. She'll use some bass program and I'll use a real bass....the real stuff always wins.
 
That said, I know that not everyone can play these instruments. However, there ARE controllers like what has been mentioned that will allow you to create these parts as a real human being, thus giving you more realism. I have a good friend that cannot play drums. He bought one of those nano drums controllers and LOVES trying to tap out the parts in real time. Due to the sensitivity, this thing works great. When he makes a mistake, he can just fix it or quantize it if he played to a click.
 
That's another thing....tempo maps like Rbh mentioned. Removing them from the scheme of things can definitely give you a little dirt under the fingernails in a good way as long as you have SOME sort of time concept. Many albums we all love were not created with a tempo map. However, if you copy and paste parts like back up vocals or a chorus vocal etc, it will be more challenging this way or may not even be possible. So you may have to redo that section and perform it for real like we used to years ago. :)
 
That brings me to another point....performances. When we copy and paste performances (some aren't as important and no one would notice) we are sort of walking on that "perfection" line. I like to play all the way through my songs and if I mess up, I just fix that spot. Most of the time I don't play something the exact same way the next time around. This gives me a little more spontaneity and also creates some pretty cool stuff that may only happen once. This takes away the "I knew that was coming!" feeling...so you're not so predictable.
 
Each one of these can help to make your performances sound more real. The more real you sound, the better your samples will represent. Speaking of samples... I always try to go for samples that have multiple samples in the pool this way you don't get the same stuff triggering over and over again. You never get the same sound out of a drum, piano or string instrument, we shouldn't get it either unless you are purposely using something old that was just velocity dependent. Having great instrumentation with a huge sample pool with per note possibilities as well as human playing and a controller, will hide that you are using midi by at least 75% or more depending on how you process things. :) That's what works for me.
 
-Danny

it makes the argument for collaborating with real musicians playing real instruments, as often as possible.
 

That is true but on the other hand probably very few would agree to play for me for nothing at silly-o-clock in nig...morning. Part of my enjoyment with midi has been to make music with instruments that I can only dream of being able to play

I'd have to agree. Recently, as a break from my synth-centric production, I've actually put much grater emphasis on using real instruments. It's really changed my sound, because I've found that generally compared to the amount of work it takes to get a good recording of a good player it'll take at least 15.5x that amount of work to get a 50% useable MIDI track. Of course, I exaggerate but I haven't had any good experiences trying to make MIDI sound like real stuff.

davdud101
Of course, I exaggerate but I haven't had any good experiences trying to make MIDI sound like real stuff.

MIDI is just the messenger, don't shoot at it. The real issue is the virtual instrument quality. There are many bad VIs out there and a few outstanding companies like Samplemodeling. Search it on youtube, there are some amazing videos.

For me the Midi sax (WX5) is a perfect partner for the mono synth. Having a controller designed to play one note at a time, wire to a synth designed to do the same. I try to think of the synth as a wind instrument, rely on envelopes sell and the breath controller to dictate how the amplitude and filter open. I still use the envelopes for shaping, but less so than if they were triggered by a key. Then setting the pitch range to the reed for vibrato. The expressiveness is much more intuitive and if I want to play loud, it like with a real instrument requires more energy.
 
I have recently been experimenting with the fabfilter twin, and would like to add some subtle changes to the oscilators so their is some harmonic changes before it meets the filter, and the routing on this is really nice.
 
 
I don't think Breath controllers are suited to pitch modulations. This requires a positive and negative movement. This would require you to sustain a constant pressure to be set to a zero and lower your breath pressure for negative bending.
 

BigJguitar
I did buy Alchemy by Camel Audio, and man the sounds on there are like beyond me! I watch the vids to learn about using it, but Im more of a bluey hard rock, and those sounds seem like they are for every other genre of music. Im still glad I got it though, I do find some inspiring sounds and that can take me to new places, which is never a bad thing.

+1: Also:
 
IPhone's Obsolete Alchemy "ap" 
 
= iPhone MIDI controller (for Sonar, etc.) e.g., for sliding fx's.
 
1) It did NOT require the plug-in Alchemy (i.e., within Sonar (at all)).
2) Required iphone's USB lightning connector or WiFi
3) The iPhone MIDI controller Keyboard shrinks/expands 1 to several octaves.
4) For "Piano"-MIDI Vibrato-like fx's I'd 'vibrate' my finger between 2 or 3 keyboard notes 
5) Piano-MIDI Sliding fx's or legato might than be applied to your synth of choice, etc.
6) (I've done this keyboard sliding performance ... while driving in my car with my HP-Envy-DAW, to counter one of Danny Danzi's guitar spanish guitar riffs (in a mix ("Time Slips On") (fwiw)))
 
While others here have alluded, you or I will make the use of what is currently FLOODING the market ... in our exceedingly complex and tricky arsenal of musical paints.  So now I'm 'hoping' to find another iphone MIDI controller for Vibrato, Legato, etc.
 
Utmost Blessings!