And so the good news is that this power of being able to design exactly how the instrument works is available to the creative artist. Unlike a piano, which has this analog, or even a theremin, you know, the closer you are, the farther you're away, it might be difficult to realize, but you can conceptualize what that means. Where does it stop being a toy and become an instrument, I guess is the question. Probably there's some room to build toys also. I mean, toys are fun.
Toys are great.
You know, something that might make one kind of sound. I mean, maybe we designed a version of this fabric ball that only made vocal sounds and had an incredible variety of ways of controlling vocal timbre or something that could be vocal to electronic. I think there's room for things like that. My own feeling is that there are a couple of things to learn from the way we normally make music and from traditional instruments that are worth keeping in mind when you design a new one. One is that for any instrument or tool to be interesting, you have to be able to predict what it does and know that it's going to do the same thing if you pick it up again.