JUST TYPED ALONG WITH THE SESSION SO EVERYTHING IS STILL PRETTY MESSY, NO LINKS INCLUDED AND POSSIBLE FAULTS ARE MY OWN RATHER THAN THE SPEAKERS,…
Paper Session 2 – Instrument Design
* The Multimodal Music Stand
Dan Overholt, Lance Putnam, John Thompson
- Made for multimodal musical performance. Made for the untethered performance gestures that are not directly controlling the other instrument they are playing. Use of different sensors
- generalized approach towards instr augmentation
- Capture expressive gestures and map them to synthesis parameters
- multimodal
- video camera, mic, 4 E-field sensors
- Background: instrument for expressive control, Augmented music stands, gestures in music, score following
- Computer Vision Techniques: flute segmentation algorithm, gaze detection using the Viola-Jones face detector, nod detection using LK pyramidal optical flow
- Multimodal detection layer, Sound Synthesis
- Future Goals: Incorporate more features in gestural control and recognition, Expressive gesture tracking,
* The T-Stick: from Musical Interface to Musical Instrument
Joseph Malloch, Marcelo Wanderley
- Other stick controllers: Sweatstick, interval stick/talking stick, musicPole
- T-Stick motivation: to create a family of DMInstr, to create a robust physical interface
- A family of DMi’s: context in pedagogy, familiarity in performance (also for the audience to understand what you are doing), fits into traditional performance aesthetics
- Metaphor: a vibrating string or bar, like any object that would make sound acoustically,.. so you can swing, throw, beat, shake, etc
- It’s not a physical model
- Any user could pick it up and have a model in their mind what it’s about,.. later they can become better at the instrument and learn
- Goals: to create a multi-touch sensor surface, to make it more robust, to make a model of a real vibrating object incl excitation and damping etc.
- Multi-touch sensing: an array of discrete capacitive sensors
- 3 axis accelerometer, pressure sensors, contact microphone inside
- cover: to add mechanical strength: shrink-tubing
- Performances: DMI Seminar; McGill Digital Orchestra Project
- From Interface to Instrument: must be extremely robust, many hours of private practice, simple to operate, hide the sensors, hide the tech, methaphors pulls it together, multiple performers make a better context for pedagogy
* The Thummer Mapping Project (ThuMP)
Garth Paine, Ian Stevenson, Angela Pearce
Marcs, Comarts,
- The freedom Thummer: how can we turn this into a musical interface?
- Design Paradigms: Design for EMinstr are often based on reductionist models of user interaction and sound synthesis / Derived from research in the fields of human comp interaction, industrial design and digital signal processing./ lacking musical context
- How many discrete control parameters do trained acoustic musicians normally exercise in a performance? How are these related to the produced sounds?
- Pressure, Speed, Angle, Position: these are the most important control elements of acoustic instruents: how do we translate them to interfaces for electronic instruments?
* HandSketch Bi-Manual Controller: Investigation on Expressive Control Issues of an Augmented…
Nicolas D’Alessandro, Thierry Dutoit
- Context of research: Realtime CALM, nime06 Paris
- From there: realtime control of voice features, dimension based study of expressivity (singing synthesis), intuitive hand-based control of voice textures:
- Voice, Quality, Control
- Voice: VQCLib, Quality:RAMCESS, Control:HandSketch
- Pen-based control (Kyma System) Pushing forward writing skills with pen-based gestures
- Does RT singing synthesis need precise and complex control? –> vibrato is complex, automatic production is difficult to make sounding natural, realtime CALM sounded god at nime06
- pitch, vocal effort, tenseness
- Now start with control space of realtime improvements in precision,ergonomics and codification
- mapped to angle, pressure and radius
- voice contains articulations impossible to do with shapes (intensity and/or pitch sensors, consonants, etc) solution: make all controllers asymmetric, use position based approach, NPH techniques, etc.
- Work with a FSR (force sensing resistor) network
- mapping strategies: direct, modal (overall control space deformation), spectral (links between dactoylemes and phonemes)
- All in one tablet based musical instrument
* Mobile Clavier: A New Music Keyboard for Flexible Key Transposition
Yoshinari Takegawa, Tsutomu Terada, Masahiko Tsukamoto
- Requirement: musical performance need to show off their virtuosity so they want a mobile (small) keyboard
- porblem: piano’s are too large and heavy to use portably
- Mobile Clavier with Key Transpose cause problems and cause mistake because the keyboard layout becomes unclear
- Adding additional black keys in between two adjacent white keys can solve the issue.
