Knobs and nodes : a study of UI design in audio plugins : an exegesis presented in partial fulfilment of the requirements for the degree of Master's in Creative Enterprise at Massey University, Wellington, New Zealand

Knobs and Nodes explores how alternate user interfaces influence the use of audio plugins in music production. This idea was investigated through the development and user testing of audio plugins with node-based user interfaces. The Nodal Plugin Duo, comprises two unique audio plugins which exhibit delay and reverb digital signal processing. Once developed, these plugins were tested by music producers, sound designers, and composers in their native creative environments to provide insight on the usability and interactivity of the Nodal Plugin Duo

"Knowing is Seeing:" The Digital Audio Workstation and the Visualization of Sound

The computers visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW-based composition in popular music styles, many artists sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually-based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apples OS and Microsofts Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a users interaction with the GUI is usually structured in the same mannerclicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers

The dynamics of learner participation in a virtual learning environment

While online students should take charge of their own learning and form collaborative learning communities, constructivist instructors should scaffold online learning without dominating course discussions. This research continues the longitudinal investigation of web-based courses at the Faculty of Education, University of Pretoria. The mixed methodological approach this investigation followed consisted predominantly of qualitative methods, augmented with quantitative approaches. I used two distinct online tools to explore student participation in an eight-week online Masters’-level course delivered via the WebCT™ platform. First, I reviewed the use of metaphors in the literature by a framework of requirements for successful online learning. The use of metaphor supports constructivism, facilitates course interaction, helps to avoid students’ initial inertia in online discussions, and contributes to the development of virtual learning communities. I researched how an explanatory metaphor as tool supported online participation and indicated that metaphors eased students’ communication of important and difficult issues. Secondly, I used the tool of a covert virtual student that also acted as an additional facilitator and course helper. I examined the ethical implications of the carefully concealed real identity of the mythical online helper, methical Jane. As she took part in all course activities and assignments, as well as providing her co-students with cognitive and technical support, the students accepted and integrated her presence in their virtual learning community. I consequently analysed students’ reactions to her identity after disclosure of her origin after the course. Although the exposure precipitated students’ shock, disbelief and dismay as she was a convincing virtual student, they did not object to the presence of a virtual student, but rather felt betrayed due to her hidden real identity. The benefits of this teaching intervention include experts supplying technical expertise, multiple faculty enriching the learning experience, and support and teaching assistants and tutors participating with smaller groups in large online classes. I further examined how frequency of course access, discussion postings, collaborative behaviour and integration into a virtual learning community relate to learning and course completion. Quantitative indices indicated highly significant differences between the stratifications of student performance. Absent and seldom-contributing students risked missing the benefits of the online learning community. Students were discontent with peers who rarely and insufficiently contributed to group assignments. Low participation varied from only reading, skimming, or deliberately harvesting others’ contributions, to high student contributions of little value. Conclusions on the formation of an online learning community indicate that the passport to membership of the community is quality participation, rather than prior peer acquaintance. I indicated that students’ learning benefited from contributing high quality inputs to online learning communities while students with poor participation did not benefit from the online learning community. Online facilitators contribute to students’ learning through the timeliness and quality of tailored scaffolding. Recommendations for future research include uncovering the reasons for students’ stressful experiences of online learning; the effect of online assessment on student course participation; the alignment of learning metaphors in multi-cultural learning environments; and the support of non-participating online students.Thesis (PHD)--University of Pretoria, 2009.Curriculum Studiesunrestricte

The Design of Audio Mixing Software Displays to Support Critical Listening

PhDThe mixing desk metaphor found in Digital Audio Workstations (DAW) is built upon a specialised and technical knowledge of signal flow and audio engineering. However, since their inception the DAW has gained a far wider and less technically specialised user-base. Furthermore, the limited screen space of laptop and tablet computers, combined with potentially limitless tracks in current DAWs has resulted in the need for complex interface navigation during mixing which may inhibit a fluid and intuitive approach to mixing. The research outlined in this thesis explores novel designs for Graphical User Interfaces (GUIs) for mixing, which acknowledge the changing role of the user, the limited space of tablet and mobile computers screens and the limitations of human perception during cross modal activities (aural and visual). The author designs and conducts several experiments using non-expert participants drawn from several music technology courses, to assess and quantify the extent to which current DAW designs might influence mixing workflow, aiming our research especially at beginner and non-expert users. The results of our studies suggest that GUIs which load visual working memory, or force the user to mentally integrate visual information across the interface, can reduce the ability to hear subtle simultaneous changes to the audio. We use the analysis of these experiments to propose novel GUI designs that are better suited to human cross-modal perceptual limitations and which take into account the specific challenges and opportunities afforded by screen-based audio mixers. By so doing, we aim to support the user in achieving a more fluid and focused interaction while mixing, where the visual feedback supports and enhances the primary goal of attending to and modifying the audio content of the mix. In turn, it is hoped this will facilitate the artistic and creative approaches required by music computer users

Computer Mediated Music Production: a Study of Abstraction and Activity

Human Computer Interaction research has a unique challenge in understanding the activity systems of creative professionals, and designing the user-interfaces to support their work. In these activities, the user is involved in the process of building and editing complex digital artefacts through a process of continued refinement, as is seen in computer aided architecture, design, animation, movie-making, 3D modelling, interactive media (such as shockwave-flash), as well as audio and music production. This thesis examines the ways in which abstraction mechanisms present in music production systems interplay with producers' activity through a collective case study of seventeen professional producers. From the basis of detailed observations and interviews we examine common abstractions provided by the ubiquitous multitrack-mixing metaphor and present design implications for future systems

Interaction design for live performance

PhD Thesis Multimedia item accompanying this thesis to be consulted at Robinson LibraryThe role of interactive technology in live performance has increased substantially in recent years. Practices and experiences of existing forms of live performance have been transformed and new genres of technology-­‐mediated live performance have emerged in response to novel technological opportunities. Consequently, designing for live performance is set to become an increasingly important concern for interaction design researchers and practitioners. However, designing interactive technology for live performance is a challenging activity, as the experiences of both performers and their audiences are shaped and influenced by a number of delicate and interconnected issues, which relate to different forms and individual practices of live performance in varied and often conflicting ways. The research presented in this thesis explores how interaction designers might be better supported in engaging with this intricate and multifaceted design space. This is achieved using a practice-­‐led methodology, which involves the researcher’s participation in both the investigation of, and design response to, issues of live performance as they are embodied in the lived and felt experiences of individual live performers’ practices during three interaction design case studies. This research contributes to the field of interaction design for live performance in three core areas. Understandings of the relationships between key issues of live performance and individual performers’ lived and felt experiences are developed, approaches to support interaction designers in engaging individual live performers’ lived and felt experiences in design are proposed and innovative interfaces and interaction techniques for live performance are designed. It is anticipated that these research outcomes will prove directly applicable or inspiring to the practices of interaction designers wishing to address live performance and will contribute to the ongoing academic discourse around the experience of, and design for, live performance.Engineering and Physical Sciences Research Council

Metaphors for electronic music production in reason and live

Electronic music production was originally accomplished using a variety of electronic components and conventional analogue recording techniques. Both the electronic components and the recording equipment are now being replaced by computer software. In this paper we present a comparative study of two popular new systems, Reason and Live, concentrating on the role of user-interface metaphors. We compare the two systems, identify the key ways metaphor is used, and describe how it affects usability of the systems focusing on the role that user-interface metaphor play in their design

Supporting virtuosity and flow in computer music

As we begin to realise the sonic and expressive potential of the computer, HCI researchers face the challenge of designing rewarding and accessible user experiences that enable individuals to explore complex creative domains such as music. In performance-based music systems such as sequencers, a disjunction exists between the musician’s specialist skill with performance hardware and the generic usability techniques applied in the design of the software. The creative process is not only fragmented across multiple physical (and virtual) devices, but divided across creativity and productivity phases separated by the act of recording. Integrating psychologies of expertise and intrinsic motivation, this thesis proposes a design shift from usability to virtuosity, using theories of “flow” (Csikszentmihalyi, 1996) and feedback “liveness” (Tanimoto, 1990) to identify factors that facilitate learning and creativity in digital notations and interfaces, leading to a set of design heuristics to support virtuosity in notation use. Using the cognitive dimensions of notations framework (Green, 1996), models of the creative user experience are developed, working towards a theoretical framework for HCI in music systems, and specifically computer-aided composition. Extensive analytical methods are used to look at corollaries of virtuosity and flow in real-world computer music interaction, notably in soundtracking, a software-based composing environment offering a rapid edit-audition feedback cycle, enabled by the user’s skill in manipulating the text-based notation (and program) through the computer keyboard. The interaction and development of more than 1,000 sequencer and tracker users was recorded over a period of 2 years, to investigate the nature and development of skill and technique, look for evidence of flow experiences, and establish the use and role of both visual and musical feedback in music software. Quantitative analyses of interaction data are supplemented with a detailed video study of a professional tracker composer, and a user survey that draws on psychometric methods to evaluate flow experiences in the use of digital music notations, such as sequencers and trackers. Empirical findings broadly support the proposed design heuristics, and enable the development of further models of liveness and flow in notation use. Implications for UI design are discussed in the context of existing music systems, and supporting digitally-mediated creativity in other domains based on notation use