Twiddler3-layout

Obviously, the best way to assimilate a complex organization is by being involved in the build process. If it's too late for that, reading a transcript of the survey it took to make it is the next best thing.

To better understand where the results come from, this survey must be seen as a decision making report, stating the rationale used to make a choice among alternate mappings — at every single step, down to the level of each button.

Most of the time, much has to be said to convey all that matters when deciding what is best.

As doing that with words only is likely to get boring real quick, extensive use of graphics will save as much wording as possible.

A good way to keep an eye on the big picture can be arranged by making sure that every single image is a part of the final representation in The Layout Browser.

After this TabSpace section, we will take care to state one step at a time what we have and what is missing in order to associate all our symbols with the most appropriate chord.

    Brandon Craig Rhodes http://www.rhodesmill.org/brandon
    Version 0.3, Monday 15 November 1999
    May be shared and modified if credited
    

# The three top buttons map to the most frequently used keys.  Note
# that in sane command line environments (those that support
# completions), tab is used nearly as much as backspace and both are
# often used many times per line (so we make them more convenient than
# a carriage return).

0     r000 = BACKSPACE
0     m000 = " "
0     l000 = TAB
    

# Next are the nine most common letters, which can each be produced
# with a single keypress.  They are carefully arranged so that the
# most common combinations of them can be pressed simultaneously to
# produce double letters.  In each case the double letter combinations
# output their two constituent letters in the most common order
# (though with some such as er-re it was a close call).  The doubles
# can be expected to account for roughly one-third of the adjacent
# letter pairs in normal English text!

0     0m00 = "e"
0     00m0 = "t"
0     000m = "h"
0     0l00 = "o"
0     00l0 = "r"
0     000l = "s"
0     0r00 = "i"
0     00r0 = "n"
0     000r = "a"
0     0r0r = ai
0     0r0m = hi
0     0r0l = is si = mr0l
0     0rr0 = in
0     0rm0 = it ti = mrm0
0     0rl0 = ir ri = mrl0
0     0m0r = ea
0     0m0m = he
0     0m0l = es se = mm0l
0     0mr0 = en
0     0mm0 = te
0     0ml0 = er re = mml0
0     0l0r = oa
0     0l0m = ho
0     0l0l = so
0     0lr0 = on
0     0lm0 = to
0     0ll0 = or
0     00rr = an
0     00rm = hn
0     00rl = ns
0     00mr = at
0     00mm = th
0     00ml = ts st = m0ml
0     00lr = ra ar = m0lr
0     00lm = hr
0     00ll = rs

those are not recognized as ngrams2
those are mirror ngrams added to TabSpace3 Chord collections3

# Every other letter is produced by pressing the top middle button
# (the spacebar) and some combination of the lower keys.  It is
# expected that during normal typing the index will stay on the
# spacebar.  A few combinations that involve these second-tier letters
# are also supported.

0     mm00 = "d"
0     m0m0 = "l"
0     m00m = "m"
0     mr00 = "c"
0     m0r0 = "f"
0     m00r = "g"
0     ml00 = "u"
0     m0l0 = "w"
0     m00l = "y"
0     mmm0 = "p"
0     m0mm = "k"
0     mrr0 = "b"
0     m0rr = "j"
0     mll0 = "v"
0     m0ll = "x"
0     mm0m = "q"
0     ml0l = "z"

0     mlr0 = of
0     mmr0 = nd
0     mr0m = ch
0     ml0m = qu
0     m0lm = wh
those are not recognized as ngrams2

# Finally, we support some three-letter combinations.  As above, note
# that they are produced simply by pressing all of their letters
# simulateously.

0     0mmm = the
0     0rrr = ain
0     0mlr = are
0     mrrr = ing
0     mmrr = and
0     mlrr = ong
those are not recognized as ngrams2

# As everyone knows, keypads are supposed to be three by three.

0     rr00 = "1"
0     rm00 = "2"
0     rl00 = "3"
0     r0r0 = "4"
0     r0m0 = "5"
0     r0l0 = "6"
0     r00r = "7"
0     r00m = "8"
0     r00l = "9"
0     rrr0 = "0"
0     rmm0 = "."
0     rll0 = "-"
    

# Below the number keypad we place three tiers of mathematical
# operators and symbols.  First come the arithmetic operators, which
# we cascade off of the minus sign.

0     rlm0 = "+"
0     rlr0 = "^"
0     rl0l = "/"
0     rl0m = "*"
0     rl0r = "%"
    

# The middle tier of operators include those usually used for logic
# operations.

0     rmr0 = "&"
0     rml0 = "|"
0     rm0m = "~"
0     rm0r = "^"
    

# The double key combinations along the bottom two rows
# produce the comparitive operators.  Note that the greater than and
# less than symbols, which we also use as angle brackets, are in
# positions similar to all other brackets (see below).

0     r0rr = "<"
0     r0mm = ">"
0     r0ll = "="
    

# The last major section involves punctuation.  The period, comma, and
# enter key are both intended to be very easy to press.  The semicolon
# is of course produced by pressing period and comma simultaneously.
# Quotes and brackets are also available here.

0     ll00 = "."
0     lll0 = ";"
0     l0l0 = ","
0     l0ll = ":"
0     l00l = 34     # quotation mark
0     l00m = "'"
0     l00r = "`"
0     lm00 = ENTER
0     lr00 = "-"
0     lrr0 = "["
0     lmm0 = "]"
0     l0r0 = "("
0     l0m0 = ")"
0     l0rr = "{"
0     l0mm = "}"
    

# Now that we have exhausted the same-row combinations of the lower
# three keys, we place two more echelons of symbols: one of textual
# punctuation, and the other of more obscure symbols more often
# encountered in programming (and computer typesetting).  People who
# use such keys exceedingly often may have cause to be upset with me.

0     llm0 = "?"
0     llr0 = "!"
0     ll0l = "$"
0     ll0m = "#"
0     ll0r = "~"
0     llll = "@"
0     llmm = "&"

0     lmr0 = "/"
0     lml0 = "\\"
0     lm0m = "_"
0     lm0r = "%"
    

# The FN modifier has no useful native function under X-windows
# (unlike the Shift, CTRL, and ALT modifiers), so we use it for useful
# keystrokes that need to be easy to get to.  Hitting single keys with
# FUNC give an arrow key rose and other screen navigation sequences.
# This is also where we put important codes like Escape, Delete, Null,
# and Linefeed.

func  r000 = 127            # func + BACKSPACE = delete (ascii rubout)
func  m000 = NULL           # func + SPACE = null
func  l000 = ESCAPE         # func + TAB = ESCAPE
func  lm00 = 10             # func + ENTER = linefeed
func  0m00 = 20,"FF52",20   # XK_Up
func  00m0 = 20,"FF54",20   # XK_Down
func  0r00 = 20,"FF51",20   # XK_Left
func  0l00 = 20,"FF53",20   # XK_Right
func  00r0 = 20,"FF55",20   # XK_Page_Up
func  000r = 20,"FF56",20   # XK_Page_Down
func  00l0 = 20,"FF95",20   # XK_Home
func  000l = 20,"FF9C",20   # XK_End
func  000m = 20,"FF9E",20   # XK_Insert
    

# Every Emacs user will appreciate these easily accessible sequences,
# if only they can bring themselves to remember them.

func  ll00 = 4              # C-d
func  mm00 = 7              # C-g
func  0rr0 = 3              # C-c
func  0mm0 = 24             # C-x
func  0ll0 = 24,"u"         # C-x u
func  00rr = 24,"("         # C-x (
func  00mm = 24,")"         # C-x )
func  00ll = 24,"e"         # C-x e
    

# FUNC + keypad produces function keys.

func  rr00 = 20,"FFBE",20   # XK_F1
func  rm00 = 20,"FFBF",20   # XK_F2
func  rl00 = 20,"FFC0",20   # XK_F3
func  r0r0 = 20,"FFC1",20   # XK_F4
func  r0m0 = 20,"FFC2",20   # XK_F5
func  r0l0 = 20,"FFC3",20   # XK_F6
func  r00r = 20,"FFC4",20   # XK_F7
func  r00m = 20,"FFC5",20   # XK_F8
func  r00l = 20,"FFC6",20   # XK_F9
func  rrr0 = 20,"FFC7",20   # XK_F10
func  rmm0 = 20,"FFC8",20   # XK_F11
func  rll0 = 20,"FFC9",20   # XK_F12
    

# I feel like I should throw these in somewhere so here they are:

num   00mm = CAPS_LOCK
num   00rr = NUM_LOCK
num   00ll = SCROLL_LOCK
    

With symbols segmented into categories, the assignment process becomes a matter of looking into how they can be matched with our chords sets.

As the Twiddler ORML encoding does not support chords that would require pressing more than one button on the same row, its full set of 4x4 chords can be segmented into four groups of 3x3 chords involving the 3 columns of the 3 lower rows. All combinations are addressed once combined with one of the four ORML←→INDEX MODIFIERS on the 4x4 top row.

Not covered here, less practical (yet usable) combinations of 2 modifiers on the first and second row of the 3x3 sub-pads allows more mappings.

Twiddler 3 tuner

• Its sleek looking, worthy of Twiddler 3 design, something worth mentioning when compared to the average standard level of what Apple did not do on the web.
  (I'm not an Apple proselyte but I really think it's not far from the truth)

• No X-Ray view option (see-through) so that Device LEFT and User's LEFT coincide
• Having to activate an obvious after each Add a new chord
• Although Key Stroke(s) buttons Insert and Apply display their current enabled or disabled state correctly — the TEXT INPUT does not.
• Display order fixed to Bottom—up created order
• Not open-source! … as if there were concerns with exploitation
• Some hardly readable symbols with font issues:
  • in the Keystroke TEXT INPUT
  • in the left pane Key Stroke(s) column
  • Using variable font breaks vertical alignment in left pane Chords column
  • Using fancy font for Keystroke text input is not convenient when dealing with tiny symbols like these:
    ' " ` euro €
• Button selection in FRONT: view:
  • While in editing a chord, the current ORML notation should be displayed somewhere close with each selection instead of after a click on the Apply button.
  • Selecting a button should deselect others on the same row — as long as using more than one is not supported.
• A session timeout that may ditch unsaved changes ... what's the stress ?
• Some missing Special Keys:
  • <Space> (currently an invisble blank)
  • € (well maybe... when it gets into some standard character set)
  • And more importantly scancode (keycode) support for more USB usage table entries such as Mute, Volume Up, Volume Down, …

• With all the above, it's a real challenge to grasp all aspects of the customization process!
  Every single step brings a new domain of investigation and experimentation, some new ground yet to be explored.

     ←  4x4  →
 255 RRRR
     RRRM
     RRRL
     RRRO
     RRMR
     ...
     OOLO
     OOOR
     OOOM
   1 OOOL
     OOOO
       ← 3x3 →
   

• Chord rank
• Inside each pad, the most deserving symbol should get the best available ranked chord yet available

NOT SO GOOD
 NOT  BAD  
  BETTER   
 VERY GOOD 
   GREAT   
     

     random
  3X diagonal
2B+1 2 same column
1+2B ring with pinky
  2b 2 only
  3B 3 same column
  2B 2 only same column
  1B 1 only
     

O
ORR 2B
ORM 2b
ORL 2b
ORO 1B
OMR 2b
OMM 2B
OML 2b
OMO 1B
OLR 2b
OLM 2b
OLL 2B
OLO 1B
OOR 1B
OOM 1B
OOL 1B

    

R
RRR   3B
RRM 2B+1
RRL 2B+1
RRO   2B
RMR     
RMM 1+2B
RML   3X
RMO   2b
RLR     
RLM     
RLL 1+2B
RLO   2b
ROR   2b
ROM   2b
ROL   2b
ROO   1B

    

M
MRR 1+2B
MRM     
MRL     
MRO   2b
MMR 2B+1
MMM   3B
MML 2B+1
MMO   2B
MLR     
MLM     
MLL 1+2B
MLO   2b
MOR   2b
MOM   2b
MOL   2b
MOO   1B

    

L
LRR 1+2B
LRM     
LRL     
LRO   2b
LMR   3X
LMM 1+2B
LML     
LMO   2b
LLR 2B+1
LLM 2B+1
LLL   3B
LLO   2B
LOR   2b
LOM   2b
LOL   2b
LOO   1B

    

• learning phase benefit ← → memorized at first glance

Working with learning phase comfort in mind will require some checking to make sure decisions are not made at the expense of long term benefits. Those two periods of time are equally important as long as a too steep learning curve could very well become a barrier on the road.

• long term benefit ← → recalled on demand

What could still be helpful to someone who worked everyday for years with some layout?

Long term memorization may be an issue worth some effort only when it comes to recall the forgotten chord of some scarcely used symbol. In that case, some well grounded logic should propose an obvious mnemonic path to the answer. The required effectiveness would be only to avoid having to depend on some cheat-sheet!

In which other way a layout could be long term friendly or not? The obvious answer would certainly contains the following keywords:

• Efficiency
• Comfort
• RSI
• Customization
• …

The Efficiency factor is a compound substance. All kind of disturbances may get in the way, some depend on the circumstances:

• Messaging
• Calculation
• Programming
• Controlling
• …

As there is no obvious layout for associating for instance a bundle of arithmetic symbols, we have to look for some rules. These rules would have to explain why some set of chords is best for a particular set of symbols, so that they would help at times we have to define new mappings.

Now, where is the authority in charge of making rules in this domain? When Wikipedia and Google can't answer the question, the best we can do is to go on with every single piece of available information and see where it goes.

The result will be a list of decisions that made sense while working on a particular pad, not looking at the big picture. If we are lucky, some scheme could come up from reverse-engineering. If this is the case, some decisions will have enough commonalities that they could be used to work out some rules.

Crafting rules

• Some clues are spread inside each topic.
Near the end, we will see if they add up in such a way we can turn some of them into rules…

2 fingers
index + major index + ring index + pinky
major + ring major + pinky
ring + pinky
3 fingers
index + major + ring  … ← → 3 top
O major + ring  + pinky ← → 3 bottom
index … ring  + pinky ← → 1 top + 2 bottom
index + major … pinky ← → 2 top + 1 bottom … poor pinky on its own
4 fingers
index + major + ring + pinky
   

more than one finger
– neighboring fingers on the same column kinda work together
– those on their own may have to be trained to work alone
only 2 or 3 fingers down + other fingers raised
– difficulty depends on which are raised.
pinky on its own — as in not paired with ring finger on the same column
– difficulty being to train your pinky — or not!
   

Col 1 4x4 top-row

Best ones reserved for INDEX MODIFIERS (works for all 4 rows).
Col 1  Col 2       Col 3-5            Col 6-8              Col 9-11
  Sx9    Px6          S+5                Px3                   S+2

Col 1 3x3 pad involves only a single finger at a time.
Col 2 pad involves finger pairs which are the easiest combinations we have.
Col 3-5 pad use the major modifier + 3x 5 single fingers.
Col 6-8 pad use the major modifier + 3x 2 finger pairs.
Col 9-11 pad use the ring modifier + 3x 2 single finger.
   

A ROW contains 11 3x3 PADS for each of the
4x4 INDEX MODIFIERS: O Space BS Tab

The proposed layout pads are organized in 4 rows of 11 columns. Each row corresponds to one of the four ways an INDEX MODFIER may be used with the three buttons of the first row BS, Space and Tab turning them into modifiers, quite like this is the case on a standard keyboard with SHIFT, CONTROL and ALT.

O The No modifier layer — index raised

M The Middle modifier layer — INDEX SPACE MODIFIER

R The Right modifier layer — INDEX BACKSPACE MODIFIER

L The Left modifier layer — INDEX TAB MODIFIER

A COLUMN contains 4 identical 3x3 pads
combined with one of the 4x4 INDEX MODIFIERS

What the INDEX does on the first row of the 4x3 full pad, the other FINGERS can do on their respective row of the 3x3 sub-pad in order to introduce more layers. The remaining buttons can then be mapped individually or by pairs.

• order of finger combinations agility: index-major-ring-pinky
• from top to bottom row: O-Middle-Right-Left
• from left to right column: Col 1…Col 11

Each sub-pad is composed of a number of single buttons or button pairs.

180 = 4x45 = 4x(9 + 6 + 3x5 + 3x3 + 3x2)

 Col 1  Col 2       Col 3-5            Col 6-8              Col 9-11
  Sx9    Px6          S+5                Px3                   S+2

Note: The 4x11 layout can be further extended to include the less practical, but still usable, combinations of 2 modifiers on the first and second row of the 3x3 sub-sub-pads to obtain 18 = 3x(3x2) more mappings looking just like 3 more Col 9-11 but with one of 3x3 top RML pressed by the middle finger.

A PAD contains a matrix of 3x3 buttons
that can be arrange in triplets, pairs or single button groups

Under rows and columns, pads will receive groups of related symbols that we can display as we would a collection of cards.

Now, we have to decide how to distribute symbols in a way that makes sense for the next stage which is about memorizing the layout.

Inside each pad, symbols disposition should emphasize a functional or a visual domain (whichever makes more sense) working with the idea that good mnemonic metaphores will come more easily if we can identify symbols categories that can be looked at as a whole.

At this point, the mapping process becomes a question of associating each symbol category to one of the available pads. The right order to do that is for the most used symbols getting the most accessible pads.

A CLUSTER may be any group of buttons
arranged in a way that cannot be defined
in terms or rows, columns and pads.

When mappings are close to one another, it means they share one or more major fingers combinations. The most agile finger, from index to pinky, would hopefully cover a collection of related symbols. Those categories can relate to functional or visual domains, whichever makes more sense. The best to be expected from a good organization is to be applicable in more than a single occasion.

• pads proximity
  In this case, the INDEX is pressing 4x4 BACKSPACE MODIFIER
  for both 3x3 numbers and 3x3 operators

• uncomfortable modifier
  This INDEX BACKSPACE MODIFIER is not an easy one
  … needs some checking to see how it goes …

     R1            R2
  single-x9      pair-x6
  

• standard keyboard ordering
  …relying on acquired knowledge

    R3         R4
  pair-x6      pair-x6
  

• @ % &
  - from left to right like on a standard keyboard
• € # $
  - # to the left of $ like on a standard keyboard
  - € does not really exist yet (as of 2015)
  either in the ASCII table nor in Twiddler 3 firmware

• shapes symmetry
  …5 symbol pairs

• pads proximity
  …both pads from INDEX Tab modifier

• standard keyboard ordering
  …relying on acquired knowledge

     L1            L2
  single-x9      pair-x6
  

• () {} [] are disposed, ordered from top to bottom like on a standard keyboard
• <^> will be easily remembered
• /|\ also form some distinctive shape
• !?_ Exclamation above Question mark like on a standard keyboard then Underscore

• better keep Major close to INDEX in multi-modifier chords
  …it's easier when index and major finger are close to each other. i.e. Combining L index modifier with L sub-layer is easier than with M sub-layer ... which is easier than with R sub-layer

• visually related groups
  …L4 for accents
  …L5 for punctuation

   L4            L5
  pair-x6        pair-x6
  

• ' " `
  - apostroph oriented left
  - double quote in the middle
  - grave to the right
• , ; :
  - comma oriented left
  - colon in the middle where double-quote is in L4
  - semicolon in the remaining slot

TabSpace assignment for these keys occupies only 3 slots of the this row.

TabSpace Num O (No modifier layer)

We currently have two good reasons to move those symbols in order to do the following:

1. Reserve the most accessible Num layer chords to some larger symbol category
2. Make good use of a group of 3 available chords for the 3 locking keys

    NumR1         NumR2
  single-x9      pair-x6
  

1. Add a glowing style to current cookie-expanded div
2. Complement MCC animations
3. MCC highlighter: textfield to capture user-ngrams into a cookie
4. MCC highlighter: textfield to copy-paste text for ngrams highlighting
5. …

O The O (No modifier layer)
 

 M The Middle modifier layer – INDEX SPACE MODFIER
 

   

TabSpace letters arrangement takes care of english letter usage frequency.

• Most 2 and 3 combined letters are placed over their constitutive letters location but some belong to different layers (modifier-combos):
• If combinations such "an", "in", "qu" or "the" are obtained by pressing the letters they contain , it is not the case for "ch", "nd", "of" or "ing" which refer to letters from 2 different modifier combinations.
  • The good part in this loose rule is that each button of these chords involve the finger used to produce those individual letters.
  • The not so good is that it relies on some unspecified rule that would have to "explain" how the selected modifier combo works to produce the result.
• For instance, how "ing" is obtained by combining "i", "n" and "g"?
  - "i" and "n" are on the first column of "0 single-x9" pad
  - "g" comes from "M single-x9" pad.

• extra ngrams (complements to TabSpace)
• overruled (opted out for a better choice)
• same row (not supported)

1 2grams  3grams  4-grams   5-grams    6-grams     7-grams      8-grams       9-grams   
e     th     the     tion     ation     ations     present     differen     different
t     he     and     atio     tions     ration     ational     national     governmen
a     in     ing     that     which     tional     through     consider     overnment
o     er1    ion     ther     ction     nation     between     position     formation
i     an     tio     with     other     ection     ication     ifferent     character
n     re1    ent     ment     their     cation     differe     governme     velopment
s     on     ati     ions     there     lation     ifferen     vernment     developme
r     at     for     this     ition     though     general     overnmen     evelopmen
h     en5    her     here     ement     presen     because     interest     condition
l     nd     ter     from     inter     tation     develop     importan     important
d     ti2    hat     ould     ional     should     america     ormation     articular
c     es3    tha     ting     ratio     resent     however     formatio     particula
u     or4    ere     hich     would     genera     eration     relation     represent
m     te     ate     whic     tiona     dition     nationa     question     individua
f     of     his     ctio     these     ationa     conside     american     ndividual
p     ed     con     ence     state     produc     onsider     characte     relations
g     is6    res1    have     natio     throug     ference     haracter     political
w     it2    ver     othe     thing     hrough     positio     articula     informati
y     al     all     ight     under     etween     osition     possible     nformatio
b     ar7    ons     sion     ssion     betwee     ization     children     universit
v     st     nce     ever     ectio     differ     fferent     elopment     following
k     to     men     ical     catio     icatio     without     velopmen     experienc
x     nt     ith2    they     latio     people     ernment     developm     stitution
j     ng     ted      inte     about     iffere     vernmen     evelopme     xperience
q     se3    ers1    ough     count     fferen     overnme     conditio     education
z     ha     pro     ance     ments     struct     governm     ondition     roduction
      as     thi2    were     rough     action     ulation     mportant     niversity
      ou     wit      tive     ative     person     another     rticular     therefore
      io     are3    over     prese     eneral     importa     particul     nstitutio
      le     ess     ding     feren     system     interes     epresent     ification
      ve     not     pres     hough     relati     nterest     represen     establish
      co     ive     nter     ution     ctions     elation     increase     understan
      me     was     comp     roduc     ecause     rmation     individu     nderstand
      de     ect     able     resen     becaus     mportan     ndividua     difficult
      hi     rea3    heir     thoug     before     product     dividual     structure
      ri     com     thei     press     ession     formati     elations     knowledge
      ro4    eve     ally     first     develo     communi     nformati     struction
      ic     per     ated     after     evelop     lations     politica     something
      ne5    int     ring     cause     uction     ormatio     olitical     necessary
      ea     est     ture     where     change     certain     universi     hemselves
      ra7    sta     cont     tatio     follow     increas     function     themselve
      ce     cti     ents     could     positi     relatio     informat     plication
      li     ica     cons     efore     govern     special     niversit     anization
      ch     ist     rati     contr     sition     process     iversity     according
      ll     ear     thin     hould     merica     against     lication     differenc
      be     ain     part     shoul     direct     problem     experien     operation
      ma     one     form     tical     bility     nstitut     structur     ifference
      si6    our     ning     gener     effect     politic     determin     rganizati
      om     iti     ecti     esent     americ     ination     ollowing     organizat
      ur     rat     some     great     public     univers     followin     ganizatio
    

• Col 2
  Px6
  in te or
  an th rs
      

  Col 3-5
    P+5
   I
   in it ri
   ai hi is
  
       E
   en te er
   ea he es
  
           O
   on to or
   oa ho so
      

  Col 6-8
    T+2
  ain   the
  
      

  Col 9-11
  P+6
  N         T          R
  anhnns atthst arhrrs
      

  Some worthy swaps?
  
   We can add a reversed version of 7 defined ngrams
   by adding an additional M modifier to their chords.
  
   Supporting mnemonics:
   As original ngrams combine letters in a top-down order,
   getting the bottom-up order by adding the top M modifier
   to complete these chords makes sense.
  
   ra ir and ts being exceptions, their chord has been sneakily
   swapped with their mirror's to make this rule be true.
  
  
    top first  ←→  bot first
     ORMO it  ←→  ti MRMO
     OROL is  ←→  si MROL
     OMLO er  ←→  re MMLO
     OMOL es  ←→  se MMOL
     OOML ts  ←→  st MOML
     ORLO ir  ←→  ri MRLO
     OOLR ra  ←→  ar MOLR
  
  Col 3-5 P+5
  …alternate TabSpace choice between ti and ti
  …going against raw statisctics by choosing the "it" word
  looks like a good idea. 
  Col 6-8 T+2
  …most are unused in TabSpace 2.1 but 8 are 3grams:
  i =  ain inh ins   ati ith ist   ira irh irs
  e =  ena enh ens   ate the est   are her res
  o =  ona onh ons   ota oth ots   ora orh ors
  …we have to make a choice between ith and thi
  
  TabSpace bigrams not in 2grams:
   ai
   hn ho hr
   ns
   oa so
   rs
  
  TabSpace trigrams not in 3grams:
   ong
  
  

Getting multiple keystrokes from a single chord should not be considered a simple extra that comes handy with a chorded keyboard.

In fact, we can already get something similar using a standard keyboard with the help of some hotstring handler like AutoHotkey. Why does it seem so natural to expect this kind of feature from this device?

Aside from the wrong reasons that could explain why most don't even try to learn how to master a hotstring handler, a Twiddler won't let you be that lazy. Not taking the time to deal with the customization tool would defeat the minimum commitment every user has opted in at purchase time. Using the device as a keyboard replacement would be like waisting 90% of its possibilities!

Still, there is a real difference between this device and a keyboard. It has to do with the way its 12 main keys are used. The number of different inputs we expect from a standard keyboard are close to the number of its keys. The "chording part" that involves modifiers like Shift, Control and Alt is only an accessory feature. Looking at the real potential of chording, which is what a Twiddler is all about, shows a huge number of possibilities beyond handling one single character per chord. In fact, sending whole words and phrases looks like something to be expected from the next keyboard generations.

Exploring multi character input feature deserves more than a simple approach but a few steps should be made in that direction while expanding the collection of 2L strings and 3L strings hotstrings defined by TabSpace.

Here is more on Hotstrings and Auto-replace.

• ETAOIN SRHLDCU
• English Letter Frequencies
• 1-2-3-4 Words (pdf)
• Singles - Digraphs - Trigraphs - Doubles
• Letter frequency - Wikipedia