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Continuum Fingerboard
Continuum Fingerboard
Continuum Fingerboard
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Continuum Fingerboard
The full-size Continuum Fingerboard
ManufacturerLippold Haken
Datesc. 2002–present
Technical specifications
Polyphony16 voices
Input/output
External controlMIDI, AES3

The Continuum Fingerboard or Haken Continuum is a music performance controller and synthesizer developed by Lippold Haken, a professor of Electrical and Computer Engineering at the University of Illinois, and sold by Haken Audio, located in Champaign, Illinois.[1]

The Continuum Fingerboard was initially developed from 1983 to 1998[2] at the CERL Sound Group at the University of Illinois, to control sound-producing algorithms on the Platypus audio signal processor[3] and the Kyma/Capybara workstation.[4]

In 1999, the first Continuum Fingerboard was commercially sold. Until 2008, the Continuum Fingerboard provided IEEE-1394 (FireWire) connections to control a Kyma sound design workstation, as well as MIDI connections to control a MIDI synthesizer module. More recently, the Continuum Fingerboard generates audio directly in addition to providing MIDI connections for MIDI modules, software synthesizers, and Kyma (the IEEE-1394 connection that was present on earlier models has been removed). An external control voltage generator permits control of analog modular synthesizers.

Specifications

[edit]

The Continuum features a touch-sensitive neoprene playing surface measuring approximately 19 centimetres (7.5 in) high by either 137 centimetres (54 in) long for a full-size instrument, or 72 centimetres (28 in) long for a half-size instrument. The surface allows a pitch range of 9350 cents (about 7.79 octaves) for the full-size instrument, and 4610 cents (about 3.84 octaves) for the half-size instrument. The instrument has a response time of 0.33 ms.[5]

An illustration of the Continuum Fingerboard's axes

Sensors under the playing surface respond to finger position and pressure in three dimensions and provide pitch resolution of one-tenth cent along the length of the scale (the X dimension), allowing essentially continuous pitch control for portamento effects and notes that are not in the chromatic scale, and allowing for the application of vibrato or pitch bend to a note. A software "rounding" feature enables pitch to be quantized to the notes of a traditional equal-tempered scale, just scale or other scale to facilitate in-tune performance, with the amount and duration of the "rounding" controllable in real time.[6]

The Continuum also provides two additional parameters for the sound: it is able to transmit the finger pressure on the board as a MIDI value, as well as the finger's vertical position on the key. These parameters are independently programmable; a standard configuration is where position on the X-Axis (lengthwise) on the instrument corresponds to pitch, position on the Y-Axis (widthwise) corresponds to a timbre shift, and position on the Z-Axis (vertically) corresponds to a change in amplitude. The Continuum is capable of polyphonic performance, with up to 16 simultaneous voices.

Each recent revision has brought more features and sound diversity to the internal synthesizer in the Continuum Fingerboard. As such, the instrument can now be considered both a controller and a stand-alone instrument.

Built-in synthesizer

[edit]

As of 2008, the Continuum Fingerboard has a new modular digital synthesizer built-in, specifically designed for the Continuum Fingerboard, called The EaganMatrix.[7] The EaganMatrix uses a patching matrix to design synthesis algorithms. The patching matrix interconnects a variety of modules: oscillator, filter, delay, modulation, waveshaping, spectral manipulation, modal physical modeling, waveguide physical modeling, kinetic modeling, granulation, and shape generator. Each three-dimensional performance direction of the Continuum playing surface can influence each patch point in the matrix. By defining formulas and placing them at points in the patching matrix, the user creates relationships between the finger touching the Continuum playing surface and the flow of sound from patch sources to patch destinations.[8] The EaganMatrix is named after the Canadian composer Edmund Eagan.

Continuum players

[edit]
A Continuum in action

A major proponent of the Continuum in contemporary music is Jordan Rudess, keyboardist of the progressive metal band Dream Theater. Each Dream Theater studio album from Octavarium (2005) to A Dramatic Turn of Events (2011) features the Continuum in at least one song. It was a fixture of Rudess' live setup from 2005 to 2014, as seen on the concert DVD releases Score, Chaos in Motion 2007–2008, Live at Luna Park, and Breaking the Fourth Wall. It was also used on Rudess' 2007 solo album The Road Home.[citation needed] Since 2019, Rudess' live setup includes the ContinuuMini, a smaller version of the Continuum.

Another advocate is Sarth Calhoun, who uses it in his work with Lucibel Crater and whilst he was working with Lou Reed. In the Metal Machine Trio, both Calhoun and Reed used Continuum Fingerboards on stage.[9]

Indian composer A. R. Rahman's 2007 Third Dimension tour of North America featured the Continuum.[10] He used the Continuum in a piece he composed for the Changing Notes Concert held in Chennai, and in the song "Rehna Tu" in the 2009 movie Delhi-6 and the new version of "Mile Sur Mera Tumhara". He also used it in his score of the film Kadal and in the track "Acid Darbari" from the Academy Award-nominated soundtrack of 127 Hours.[11] Rahman observes that the Continuum Fingerboard, unlike a piano keyboard, can produce the microtonal notes used in Carnatic/Hindustani classical music.[12] In August 2013, Rahman was seen using the Continuum in his song "Soz O Salam" in Coke Studio @ MTV (India) Season 3.

The Continuum, ContinuuMini, EaganMatrix Module, and Osmose were used by Hans Zimmer for his score to Dune: Part Two, with instrument design and performance by Guillaume Bonneau, Christophe Duquesne, and Edmund Eagan.[13]

The Continuum was used by John Williams for his score to Indiana Jones and the Kingdom of the Crystal Skull.[14]

Composer and performer Derek Duke used the Continuum in Blizzard Entertainment game soundtracks, including StarCraft II: Wings of Liberty, World of Warcraft, and Diablo III.[15]

The Turkish-American composer and performer Mehmet Ali Sanlıkol used the Continuum in two albums, Whatsnext? (2014) and Resolution (2016), that combine Turkish musical traditions with jazz.[16]

Composer and performer Ramin Djawadi both conducts the orchestra and plays Continuum in his 'Game of Thrones Live Concert Experience' tour, with the Full-size Continuum Fingerboard at his conductor's podium.[17]

Composer and performer Matthias Weber [de] used the Continuum in his score for Das Boot (2018).[18]

Other musicians using the Continuum include John Paul Jones, Lou Reed, Randy Kerber,[19] Amon Tobin,[20] Sally Sparks and Thereminists Rob Schwimmer, Andrew Levine, and Grégoire Blanc.

Continuucon is a convention for owners and enthusiasts of the Continuum and other Eaganmatrix-based electronic instruments.[21] It has been held yearly since 2016.[22]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Continuum Fingerboard

View on Grokipedia
from Grokipedia
The Continuum Fingerboard is a handcrafted polyphonic controller and developed by Lippold Haken and hand-built by Cameron Fuller for Haken Audio in , featuring a continuous, pressure-sensitive playing surface that enables independent control of pitch, volume, , and other parameters for each finger through multi-dimensional touch sensing. This instrument, often described as an MPE+ ( Polyphonic Expression) standalone , MPE controller, and audio processor, allows performers to achieve acoustic-like expressivity, including seamless pitch slides and nuanced dynamics, without discrete keys. Development of the Continuum Fingerboard began in the early when Haken, then a at the University of , created a polyphonic finger-tracking interface; Haken earned a Ph.D. in from the university in 1989 and refined the design through the into a stable form that has evolved over the last 25 years. The instrument's core technology tracks fingers using up to 12 Hall-effect sensors per finger, digitized by high-speed analog-to-digital converters for rapid response. Powered by the EaganMatrix Sound Engine—co-developed with audio designer Edmund Eagan over the past 20 years—the Continuum supports over 500 factory presets and customizable sounds via the Haken Editor software on Mac or PC. Available in Slim models and priced starting at $4,910, each unit includes accessories like cables and adapters, plus a two-year warranty with free repairs (excluding shipping). Notable for advancing expressive digital music performance, the Continuum's technology, including the EaganMatrix, has been adopted in instruments like the Osmose and continues to evolve through enhancements.

History

Development

The Continuum Fingerboard was invented by Lippold Haken in 1983 as a graduate student in the Department of Electrical and at the University of at Urbana-Champaign, where he worked within the CERL Sound Group of the Computer-based Education Research Laboratory. This group focused on computer-based audio research, and Haken's early work aimed to create a performance interface that surpassed the limitations of discrete-key keyboards by enabling seamless musical expression. Initially conceived as a controller for experimental sound-producing algorithms, the instrument was designed to interface with custom systems such as the audio signal processor, co-developed by Haken and Hebel in 1988, and the Kyma/ workstation from Symbolic Sound Corporation, which allowed real-time synthesis and . These integrations emphasized the Continuum's role in driving additive and techniques, providing performers with precise input for algorithmic sound generation during demonstrations. Prototype development spanned from to , with iterative designs prioritizing continuous pitch control to mimic the fluid intonation of acoustic instruments, drawing inspiration from early 20th-century electronic devices like the Ondes Martenot's ring-controlled glissandi and the Trautonium's wire-based pressure sensitivity. By the early , prototypes incorporated a semi-modular surface for mapping pitch, , and dynamics, as detailed in Haken's 1992 presentation on the device as a polyphonic continuous keyboard. Key research contributions included the integration of three-dimensional sensing to capture finger position, pressure, and contact area for expressive control, enabling nuanced performance gestures beyond traditional . Early testing at the evaluated polyphonic capabilities, supporting up to 16 independent voices, and optimized response times to under 1 for low-latency feedback, establishing benchmarks for continuous controllers in applications. This phase culminated in 1998, paving the way for commercialization the following year.

Commercialization and Evolution

Haken Audio, based in , began commercial sales of the Continuum Fingerboard in 1999, marking the transition from academic research to a market-available instrument. The company, founded by inventor Lippold Haken, initially offered the full-size model, measuring approximately 137 cm in length and spanning 7.79 octaves (9350 cents of pitch range), designed for comprehensive performance capabilities comparable to a full keyboard. A half-size variant followed, at about 72 cm long and covering 3.84 octaves (4610 cents), providing a more compact option while retaining the core expressive surface. These early models emphasized hand-crafted construction, with production continuing in small batches from Haken's facility. In the early 2000s, the instrument received key enhancements, including the addition of MIDI support to enable integration with external synthesizers beyond its initial focus on specialized workstations. Connectivity evolved further with a shift from FireWire (IEEE-1394) interfaces, used in models up to 2008 for high-speed data transfer to systems like the Kyma workstation, to USB ports in subsequent versions, improving compatibility with modern computers and eliminating the FireWire option after 2008. This transition facilitated broader adoption as a MIDI controller and standalone device. In January 2020, Haken Audio introduced the Slim Continuum series at NAMM, featuring thinner profiles (3 cm height), updated USB connectivity, integrated displays, and models like the 46-half-step (78 cm) and 70-half-step (110 cm) variants for enhanced portability and modern integration. The lineup expanded in 2018 with the introduction of the ContinuuMini via a Kickstarter campaign, a portable model measuring 53 cm long and offering 2 octaves (2750 cents), aimed at affordability and mobility while sharing the same sound engine as larger variants. As of November 2025, Haken Audio maintains hand-built production of all Continuum models, ensuring meticulous in their Champaign , with each unit assembled individually due to the instrument's complex sensing technology. Software advancements continue through regular EaganMatrix firmware updates, such as version 10.52 released in 2025, which introduced enhanced BiqGraph filtering, overlays via tools, and refined handling for greater flexibility. In 2025, hardware evolution advanced with the January release of the EaganMatrix Micro, a compact USB-powered standalone module, and the September introduction of the Control Voltage Converter (CVC) for high-resolution integration with modular systems. The community has grown via events like ContinuuCon, the first international conference dedicated to the instrument held in 2016 in , fostering performances, , and innovations among users. Subsequent gatherings, including the 2025 edition in hosted by , highlight ongoing evolution and adoption.

Design and Specifications

Physical Construction

The Continuum Fingerboard features a playing surface constructed from soft red integrated over a layer, which provides the necessary for precise finger control while eliminating fixed keys or frets. This semi-continuous surface, approximately 19.5 cm in height, covers an underlying electromechanical sensing system and allows for smooth gliding motions across its expanse. The contributes a tactile, rubber-like feel similar to material, enhancing responsiveness to light touch without requiring excessive force. The instrument's overall build utilizes a robust metal frame to ensure stability during performance. Current Slim models include the S46 (dimensions 78 x 19.5 x 3 cm, weight 5 kg) and S70 (110 x 19.5 x 3 cm, 7 kg). Earlier Full-Size and Half-Size models, discontinued in , measured 137 cm and 72 cm in length with a 7.5 cm thickness. Each unit is handmade by Haken Audio in , under the assembly of technician Cameron Fuller, following an electromechanical design that prioritizes long-term durability and sensitivity through precision-machined components. Accessories provided with the Continuum include a universal compatible with 110/220 V and 50/60 Hz inputs, USB cables for connectivity, and adapters, though it lacks built-in speakers and relies on external audio outputs. Optional items such as protective cases and compatible stands are available separately to facilitate transport and setup on a stable surface. This modular approach underscores the instrument's focus on core physical integrity over integrated peripherals.

Technical Specifications

The Continuum Fingerboard offers a pitch range of 4600 cents, equivalent to approximately 3.83 octaves (46 half-steps), on the Slim S46 model and 7000 cents, or about 5.83 octaves (70 half-steps), on the Slim S70 model, enabling extensive glissandi and microtonal exploration suitable for various applications. These ranges maintain high expressive potential while being more compact than legacy models. Pitch resolution achieves better than 0.1 cents, allowing precise control over intervals down to subtle detunings, facilitated by high-density arrays that capture horizontal finger positions with sub-millimeter accuracy. The instrument's response time measures 0.33 milliseconds, derived from full-surface data scanning every 330 microseconds, ensuring near-instantaneous tracking of finger movements for fluid polyphonic performance. It supports up to 16 simultaneous voices in polyphonic mode, with each voice independently controllable via channels, accommodating complex multi-note textures without latency. Control is provided along three primary axes: the X-axis maps horizontal position to pitch, enabling continuous bending within configurable ranges; the Y-axis corresponds to front-to-back finger placement for modulation; and the Z-axis detects finger pressure to govern and dynamics. These dimensions are captured independently per finger, supporting MPE+ protocols for enhanced expressivity. Connectivity includes USB interfaces for both MIDI data transmission and digital audio output, alongside stereo TRS analog outputs for direct line-level connections to mixers or amplifiers. Standard MIDI DIN In/Out ports and optional AES3 digital audio I/O facilitate integration with external synthesizers and DAWs, while quarter-inch pedal jacks accept expression and sustain inputs. Power requirements consist of a universal AC adapter operating at 110-220 V, 50/60 Hz, drawing approximately 50 watts to support the internal DSP and sensor systems. The instrument tolerates standard indoor environmental conditions, with operation recommended in temperatures from 5°C to 40°C and relative humidity below 80% to prevent sensor drift, though it generates mild warmth during extended use.

Operation and Playing Technique

Control Dimensions

The Continuum Fingerboard employs a three-dimensional that captures finger position and pressure to enable expressive musical performance, surpassing the limitations of discrete-key instruments. This system tracks the X, Y, and Z axes in real time, allowing performers to manipulate pitch, , and volume continuously and independently for each finger contact point. The X-axis, corresponding to horizontal finger position from left to right, determines pitch with high precision, enabling continuous pitch bending and the realization of microtonal scales that extend beyond the fixed s of traditional keyboards. This axis supports subtle adjustments down to 30 microns of resolution, equivalent to approximately 1/500th of a , facilitating effects such as and glissandi across a full pitch range of up to 96 half-steps. The Y-axis, aligned with vertical finger position from front to back, modulates or other sound parameters, permitting dynamic shaping of tonal character during play. This dimension allows for expressive shifts in brightness or harmonic content, though its sensitivity is optimized primarily in the central two-thirds of the surface, with reduced range toward the edges. The Z-axis captures finger perpendicular to the surface, primarily controlling or to dictate note loudness and dynamics. This pressure-sensitive input, with up to 15-bit resolution, can also map to secondary effects such as intensity, providing nuanced control over expression. The instrument's polyphonic capability tracks multiple fingers—up to 16 simultaneously—independently across all three axes, assigning each to a separate channel for chords where every note receives individualized pitch, , and adjustments. This per-finger independence supports complex, expressive with 21-bit accuracy for pitch bends and 14-bit for Y and Z controls in enhanced modes. The built-in EaganMatrix processes these inputs to generate sound directly.

Performance Techniques

The Continuum Fingerboard enables smooth and effects through continuous finger movement along its X-axis (pitch dimension), allowing performers to slide between notes with sub-cent accuracy, which is particularly suited for microtonal or non-tempered compositions. In monophonic mode, glides pitches based on relative finger pressure (Z-axis), creating seamless transitions without retriggering attacks, while polyphonic glissandi maintain independent finger paths for complex, sliding harmonies. These techniques draw from historical instruments like the , where finger pressure on a suspended plate modulates pitch slides, adapted here for electronic expression. Polyphonic expression is achieved by tracking up to 16 independent fingers simultaneously, each controlling pitch (X), modulation (Y-axis, front-back position), and dynamics (Z-axis, ) on separate MIDI channels, enabling chords where individual notes vary in volume, brightness, or harmonic content without affecting others. Performers can create swells by varying for dynamic crescendos or use Y-axis shifts to alter mid-phrase, such as rocking the finger for or tilting for half-step adjustments in scales. For scale playing and chord construction, precise finger placement—accurate to within 3-5 cents—is essential, often aided by initial rounding to a tuning grid, though advanced players develop unassisted intonation through . These techniques adapt elements from string and wind instruments, such as violin-like glissandi or breath-controlled articulations via pressure-sensitive attacks, but demand a lighter touch than traditional keyboards to fully exploit the surface's sensitivity. The instrument's three-dimensional control axes—Y for vertical shifts and Z for pressure-based expression—facilitate these gestures, allowing nuanced performances that blend continuous pitch with polyphonic independence. Mastering the requires dedicated practice for precision and expressivity, starting with single-note dynamics and progressing to fast polyphonic passages, supported by resources like the official user guide and instructional videos.

Sound Generation

EaganMatrix Synthesizer

The EaganMatrix Synthesizer, named after its designer Edmund Eagan, was introduced in 2008 as the internal sound engine for the Continuum Fingerboard, supplanting prior synthesis approaches to enable more flexible and expressive sound generation directly within the instrument. Developed in collaboration with Lippold Haken and Christophe Duquesne, it utilizes a dedicated DSP engine to process inputs from the Continuum's surface, translating multidimensional gestures into audio signals without requiring external hardware. At its core, the EaganMatrix employs a modular featuring a 16x16 patching matrix that interconnects audio and control modules, including oscillators, filters, delays, envelopes, and effects, allowing users to route signals dynamically for custom . This matrix operates via patch points populated with constants, predefined functions, or user-defined formulas (such as those based on variables A through Z representing performance data), configured through the accompanying Haken Editor software on a computer. The design draws inspiration from classic modular synthesizers like the EMS VCS3 and , but leverages digital processing for greater precision and complexity in signal flow. The synthesizer supports a range of sound generation techniques, including physical modeling through kinetic and BiqBank modules that simulate mass-spring systems and acoustic interactions, frequency modulation (FM) via dedicated oscillator banks, and additive synthesis with up to 96 sine waves for harmonic construction. It also accommodates microtonal tuning and custom scales via adjustable pitch maps and graph functions, enabling precise intonation beyond standard equal temperament for experimental and non-Western music applications. Firmware updates to the EaganMatrix have continued through 2025, with the latest version 10.52 (as of March 2025) enhancing features such as expanded modulation capabilities and supporting up to 16 voices in newer models, ensuring compatibility across Haken Audio devices. The engine includes a of over 500 factory presets, categorized for acoustic instrument emulations (such as saxophones and strings) and experimental textures, which users can modify or expand using the editor's tools.

Integration with External Systems

The Continuum Fingerboard supports standard protocol output, enabling control of external synthesizers, digital audio workstations (DAWs), and sequencers through up to 16 independent channels for performance data from finger tracking. It implements Polyphonic Expression (MPE), assigning across channels 2 to P+1 where P is the maximum , with configurable pitch bend ranges via RPN 0 on channel 2, allowing nuanced control of , volume, and pitch in compatible devices. Additionally, it extends MPE with MPE+, Haken Audio's enhancement providing 14-bit resolution for Y (front-back position) and Z (pressure) data at higher update rates (up to 250 Hz for Z), and optional 21-bit X (pitch) accuracy for glitch-free transmission, ensuring backwards compatibility while improving integration with MPE-supporting hardware and software. For audio connectivity, the instrument features stereo analog outputs via balanced TRS jacks, suitable for direct integration with mixers, amplifiers, or recording interfaces, and a headphone jack capable of professional-level voltage output. Digital audio I/O is provided through AES3 connectors operating at 48 kHz or 96 kHz sample rates, with the ability to sync to external word clock for synchronized operation in studio environments. USB 2.0 connectivity facilitates MIDI over USB for computer-based setups, including bidirectional communication with the Haken Editor software and virtual MIDI ports for routing to host applications. The Continuum Fingerboard integrates with DAWs such as and via USB- or traditional interfaces, leveraging MPE for expressive control of software instruments and effects within these hosts. It also supports advanced setups through compatible hosts like the iConnectivity mioXM, allowing to multiple external devices or virtual instruments. Historically, early models until 2008 utilized IEEE-1394 (FireWire) for high-bandwidth connections, particularly with systems like Kyma, but subsequent versions transitioned to USB 2.0 for broader compatibility and simplified integration with modern computers and peripherals.

Notable Users

Musicians and Performers

, the keyboardist for the progressive metal band , was among the early adopters of the Continuum Fingerboard, incorporating it into his performances and recordings starting with the band's 2005 album , where he utilized it for intricate solos and atmospheric textures. Rudess has since featured the instrument in live settings, praising its ability to capture nuanced gestures for dynamic sound manipulation, and continues to showcase it in his solo work and tours. A.R. Rahman, the acclaimed Indian composer known for his film scores, has integrated the Continuum Fingerboard into several soundtracks, leveraging its continuous pitch control to evoke microtonal nuances resonant with Indian classical traditions. Notable uses include the ethereal lead in "Acid Darbari" from the 2010 soundtrack for , where Rahman performed using the instrument to interface with Kyma software, and contributions to the 2009 film , blending it with traditional elements for tracks like "Rehna Tu." John Paul Jones, former bassist and keyboardist of Led Zeppelin, acquired a in 2006, incorporating it into his experimental solo projects and appreciating its keyless surface for fluid, expressive playing beyond conventional keyboards. Similarly, session keyboardist Terry Lawless, who has collaborated with artists like , lists the Continuum among his core studio gear, employing it for its precise control in recording sessions across rock and pop genres. In the realm of classical and experimental music, performers like Rob Schwimmer have advanced the instrument's role in microtonal compositions, as demonstrated in his 2012 piece CONTINUUM, premiered at the American Festival of Microtonal Music, which exploits the Continuum's polyphonic pitch bending for just intonation explorations. The Continuum community fosters performer development through events like ContinuuCon, an annual conference initiated in 2016 for Haken Continuum users, featuring showcases, workshops, and performances that highlight innovative techniques on the instrument and related EaganMatrix-based devices.

Applications in Media

The Continuum Fingerboard has been integrated into several high-profile film scores to produce distinctive, expressive soundscapes that enhance narrative atmospheres. employed the instrument, alongside the ContinuuMini, EaganMatrix Module, and Osmose, in the soundtrack for Dune: Part Two (2024), where it facilitated the generation of ethereal, alien-like timbres central to the film's sonic identity. Similarly, incorporated the Continuum into the orchestral score for and the Kingdom of the (2008), using it to double woodwinds and sections for heightened emotional depth and a sense of otherworldly intrigue. In broader media applications, the instrument supports live orchestral performances tied to cinematic franchises. Composer performs on the Continuum during his Game of Thrones Live Concert Experience tour, conducting and playing it to amplify the score's immersive qualities in real-time with a full .

References

  1. https://www.hakenaudio.com/continuum-introduction
  2. https://www.hakenaudio.com/store/slim-continuum
  3. https://www.hakenaudio.com/the-team
  4. https://www.hakenaudio.com/editor-and-firmware
  5. https://www.hakenaudio.com/sound-engine
  6. https://www.hakenaudio.com/lippoldpubs
  7. https://ece.illinois.edu/news/2592
  8. https://www.protocase.com/community/spotlight/haken-audio/
  9. https://kyma.symbolicsound.com/using-external-controllers-with-kyma/using-the-continuum-with-kyma/
  10. https://www.hakenaudio.com/historical-techniques
  11. http://quod.lib.umich.edu/cgi/p/pod/dod-idx/continuum-a-continuous-music-keyboard.pdf?c=icmc;idno=bbp2372.1992.022
  12. https://www.perfectcircuit.com/haken-audio-continuum-fullsize.html
  13. https://www.perfectcircuit.com/haken-audio-continuum-halfsize.html
  14. https://static1.squarespace.com/static/5b5353de506fbe04915e9b38/t/5e114f00ffa28a66383794ab/1578192689119/ContinuumUserGuideOpt.pdf
  15. https://soundgenetics.com/guide-to-continuum-fingerboard/
  16. https://www.matrixsynth.com/2020/01/a-brand-new-continuum-haken-introduces.html
  17. https://www.kickstarter.com/projects/1605483632/continuumini
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  19. https://www.youtube.com/watch?v=0uINw9IW57c
  20. https://www.hakenaudio.com/eaganmatrix-micro-v2
  21. https://www.hakenaudio.com/cvc-introduction
  22. https://musewire.com/continuucon-2016-the-first-continuum-fingerboard-conference-announced/
  23. https://www.synthtopia.com/content/2024/10/15/continuucon-electronic-music-conference-coming-to-paris-in-2025/
  24. http://alex4.de/images/manuals/Continuum_usermanual.pdf.pdf
  25. https://johnschwenk.com/continuum-fingerboard-playing
  26. https://www.synthtopia.com/content/2020/04/24/haken-audio-retires-original-continuum-fingerboard-instruments/
  27. https://medias.audiofanzine.com/files/continuumuserguide-471275.pdf
  28. https://haken-audio.squarespace.com/continuum-details
  29. https://www.mim.be/en/collection-piece/continuum-fingerboard
  30. https://www.hakenaudio.com/feature-list
  31. https://www.errorinstruments.com/a-36949243/new-collector-synth/haken-audio-continuum-full-size/
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  34. https://www.hakenaudio.com/tip-du-jour
  35. https://www.synthtopia.com/content/2016/12/11/continuum-creator-lippold-haken-on-the-future-of-electronic-instruments/
  36. https://www.loc.gov/static/programs/national-recording-preservation-plan/tools-and-resources/documents/Interview_Mark-Vail.pdf
  37. https://files.kraftmusic.com/media/ownersmanual/Haken_Audio_EaganMatrix_User_Guide.pdf
  38. https://www.hakenaudio.com/eagan-matrix-v2
  39. https://www.hakenaudio.com/mpe
  40. https://www.hakenaudio.com/continuumini-details
  41. https://www.guitarcenter.com/riffs/interviews/keyboards--midi/jordan-rudess-keyboard-expression
  42. https://news.symbolicsound.com/2010/11/08/a-r-rahman-uses-continuum-on-127-hours-soundtrack/
  43. https://www.mid-day.com/lifestyle/culture/article/three-musical-instruments-sounds-kazoo-continuum-fingerboard-slaperooar-rahman-sivamani-17802195
  44. https://ece.illinois.edu/news/2519
  45. https://www.terrylawless.com/studiogear.htm
  46. https://www.synthtopia.com/content/2013/01/06/continuum-for-haken-continuum-fingerboard/
  47. https://synthandsoftware.com/2024/06/continuucon-2024-a-view-from-the-inside/
  48. https://www.soundonsound.com/techniques/dune-hans-zimmer-friends
  49. https://www.hakenaudio.com/external-digital-synths-retired
  50. https://www.synthtopia.com/content/2023/01/12/international-expressive-instrument-conference-continuucon-coming-to-portugal-may-17-19-2023/
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