6,443 research outputs found

    A novel continuous pitch electronic wind instrument controller

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    We present a design for an electronic continuous pitch wind controller for musical performance. It uses a combination of linear position, magnetic reed, and air pressure sensors to generate three fully continuous control dimensions. Each control dimension is encoded and transmitted using the industry standard MIDI protocol to allow the instrument to interface with a large variety of synthesizers to control different parameters of the synthesis algorithm in real time, allowing for a high degree of expressiveness not possible with existing electronic wind instrument controllers. The first part of the thesis will provide a justification for the design of a novel instrument, and present some of the theory behind pitch representation, encoding, and transmission with respect to digital systems. The remainder of the thesis will present the particular design and explain the workings of its various subsystems

    Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments

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    This is the peer reviewed version of the following article: Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments, which has been published in final form at http://dx.doi.org/10.1162/COMJ_a_00297. This article may be used for non-commercial purposes in accordance with MIT Press Journal's Terms and Conditions for Self-Archiving. © 2015, MIT Press Journal

    A platform for low-latency continuous keyboard sensing and sound generation

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    On several acoustic and electromechanical keyboard instruments, the produced sound is not always strictly dependent exclusively on a discrete key velocity parameter, and minute gesture details can affect the final sonic result. By contrast, subtle variations in articulation have a relatively limited effect on the sound generation when the keyboard controller uses the MIDI standard, used in the vast majority of digital keyboards. In this paper we present an embedded platform that can generate sound in response to a controller capable of sensing the continuous position of keys on a keyboard. This platform enables the creation of keyboard-based DMIs which allow for a richer set of interaction gestures than would be possible through a MIDI keyboard, which we demonstrate through two example instruments. First, in a Hammond organ emulator, the sensing device allows to recreate the nuances of the interaction with the original instrument in a way a velocity-based MIDI controller could not. Second, a nonlinear waveguide flute synthesizer is shown as an example of the expressive capabilities that a continuous-keyboard controller opens up in the creation of new keyboard-based DMIs

    Beyond key velocity: Continuous sensing for expressive control on the Hammond Organ and Digital keyboards

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    In this thesis we seek to explore the potential for continuous key position to be used as an expressive control in keyboard musical instruments, and how preexisting skills can be adapted to leverage this additional control. Interaction between performer and sound generation on a keyboard instrument is often restricted to a number of discrete events on the keys themselves (notes onsets and offsets), while complementary continuous control is provided via additional interfaces, such as pedals, modulation wheels and knobs. The rich vocabulary of gestures that skilled performers can achieve on the keyboard is therefore often simplified to a single, discrete velocity measurement. A limited number of acoustical and electromechanical keyboard instruments do, however, present affordances of continuous key control, so that the role of the key is not limited to delivering discrete events, but its instantaneous position is, to a certain extent, an element of expressive control. Recent evolutions in sensing technologies allow to leverage continuous key position as an expressive element in the sound generation of digital keyboard musical instruments. We start by exploring the expression available on the keys of the Hammond organ, where nine contacts are closed at different points of the key throw for each key onset and we find that the velocity and the percussiveness of the touch affect the way the contacts close and bounce, producing audible differences in the onset transient of each note. We develop an embedded hardware and software environment for low-latency sound generation controlled by continuous key position, which we use to create two digital keyboard instruments. The first of these emulates the sound of a Hammond and can be controlled with continuous key position, so that it allows for arbitrary mapping between the key position and the nine virtual contacts of the digital sound generator. A study with 10 musicians shows that, when exploring the instrument on their own, the players can appreciate the differences between different settings and tend to develop a personal preference for one of them. In the second instrument, continuous key position is the fundamental means of expression: percussiveness, key position and multi-key gestures control the parameters of a physical model of a flute. In a study with 6 professional musicians playing this instrument we gather insights on the adaptation process, the limitations of the interface and the transferability of traditional keyboard playing techniques

    Computers in Support of Musical Expression

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    Interaction Design for Digital Musical Instruments

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    The thesis aims to elucidate the process of designing interactive systems for musical performance that combine software and hardware in an intuitive and elegant fashion. The original contribution to knowledge consists of: (1) a critical assessment of recent trends in digital musical instrument design, (2) a descriptive model of interaction design for the digital musician and (3) a highly customisable multi-touch performance system that was designed in accordance with the model. Digital musical instruments are composed of a separate control interface and a sound generation system that exchange information. When designing the way in which a digital musical instrument responds to the actions of a performer, we are creating a layer of interactive behaviour that is abstracted from the physical controls. Often, the structure of this layer depends heavily upon: 1. The accepted design conventions of the hardware in use 2. Established musical systems, acoustic or digital 3. The physical configuration of the hardware devices and the grouping of controls that such configuration suggests This thesis proposes an alternate way to approach the design of digital musical instrument behaviour – examining the implicit characteristics of its composite devices. When we separate the conversational ability of a particular sensor type from its hardware body, we can look in a new way at the actual communication tools at the heart of the device. We can subsequently combine these separate pieces using a series of generic interaction strategies in order to create rich interactive experiences that are not immediately obvious or directly inspired by the physical properties of the hardware. This research ultimately aims to enhance and clarify the existing toolkit of interaction design for the digital musician

    Performer Experience on a Continuous Keyboard Instrument

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    On several keyboard instruments the produced sound is not always dependent exclusively on a discrete key-velocity parameter, and minute gestural details can affect the final sonic result. By contrast, variations in articulation beyond velocity have normally no effect on the produced sound when the keyboard controller uses the MIDI standard, used in the vast majority of digital keyboards. In this article, we introduce a novel keyboard-based digital musical instrument that uses continuous readings of key position to control a nonlinear waveguide flute synthesizer with a richer set of interaction gestures than would be possible with a velocity-based keyboard. We then report on the experience of six players interacting with our instrument and reflect on their experience, highlighting the opportunities and challenges that come with continuous key sensing

    Physical Interactions with Digital Strings - A hybrid approach to a digital keyboard instrument

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    A new hybrid approach to digital keyboard playing is presented, where the actual acoustic sounds from a digital keyboard are captured with contact microphones and applied as excitation signals to a digital model of a prepared piano, i.e., an extended wave-guide model of strings with the possibility of stopping and muting the strings at arbitrary positions. The parameters of the string model are controlled through TouchKeys multitouch sensors on each key, combined with MIDI data and acoustic signals from the digital keyboard frame, using a novel mapping. The instrument is evaluated from a performing musician's perspective, and emerging playing techniques are discussed. Since the instrument is a hybrid acoustic-digital system with several feedback paths between the domains, it provides for expressive and dynamic playing, with qualities approaching that of an acoustic instrument, yet with new kinds of control. The contributions are two-fold. First, the use of acoustic sounds from a physical keyboard for excitations and resonances results in a novel hybrid keyboard instrument in itself. Second, the digital model of "inside piano" playing, using multitouch keyboard data, allows for performance techniques going far beyond conventional keyboard playing
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