Novel Designs for the Audio Mixing Interface Based on Data Visualisation First Principles

Given the shortcomings of current audio mixing interfaces (AMIs) this study focuses on the development of alternative AMIs based on data visualisation first principles. The elementary perceptual tasks defined by Cleveland informed the design process. Two design ideas were considered for pan: using the elementary perceptual tasks ‘scale’ to display pan on either a single or multiple horizontal lines. Four design ideas were considered for level: using ‘length’, ‘area’, ‘saturation’ or ‘scalable icon’ for visualisation. Each level idea was prototyped with each pan idea, totalling eight novel interfaces. Seven subjects undertook a usability evaluation, replicating a 16 channel reference mix with each interface. Results showed that ‘scalable icons’, especially on multiple horizontal lines appear to show potential

Toward New Ecologies of Cyberphysical Representational Forms, Scales, and Modalities

Research on tangible user interfaces commonly focuses on tangible interfaces acting alone or in comparison with screen-based multi-touch or graphical interfaces. In contrast, hybrid approaches can be seen as the norm for established mainstream interaction paradigms. This dissertation describes interfaces that support complementary information mediations, representational forms, and scales toward an ecology of systems embodying hybrid interaction modalities. I investigate systems combining tangible and multi-touch, as well as systems combining tangible and virtual reality interaction. For each of them, I describe work focusing on design and fabrication aspects, as well as work focusing on reproducibility, engagement, legibility, and perception aspects

A Semantically Motivated Gestural Interface for the Control of Audio Dynamic Range

This paper proposes and tests the efficacy of a 2D gestural interface as a means of controlling audio processing parameters. The process of parameter mapping and subsequent optimisation can be applied within a 3D environment. Highly immersive computer interfaces, such as those found in modern virtual reality systems, offer an alternative platform suitable for 'virtual mixing desk' implementation, using a mixture of familiar controls and novel gestural control. By focusing on a small element of the proposed 'virtual mixing desk', audio dynamic range compression, this paper aims to evaluate the efficacy and practicality of a global gesture set. Following a large scale gesture elicitation exercise utilising a common 2D touch pad and analysis of semantic audio control parameters, a set of reduced multi-modal parameters are proposed which offers both workflow efficiency and a much simplified method of control for dynamic range compression

TouchNoise: A Particle-based Multitouch Noise Modulation Interface

ABSTRACT We present the digital musical instrument TouchNoise that is based on multitouch interaction with a particle system. It implements a novel interface concept for modulating noise spectra. Each particle represents a sine oscillator that moves through the two-dimensional frequency and stereo panning domain via Brownian motion. Its behavior can be affected by multitouch gestures allowing the shaping of the resulting sound in many different ways. Particles can be dragged, attracted, repelled, accentuated, and their autonomous behavior can be manipulated. In this paper we introduce the concepts behind this instrument, describe its implementation and discuss the sonic design space emerging from it

Tabletop Tangible Interfaces for Music Performance: Design and Evaluation

This thesis investigates a new generation of collaborative systems: tabletop tangible interfaces (TTIs) for music performance or musical tabletops. Musical tabletops are designed for professional musical performance, as well as for casual interaction in public settings. These systems support co-located collaboration, offered by a shared interface. However, we still know little about their challenges and opportunities for collaborative musical practice: in particular, how to best support beginners or experts or both. This thesis explores the nature of collaboration on TTIs for music performance between beginners, experts, or both. Empirical work was done in two stages: 1) an exploratory stage; and 2) an experimental stage. In the exploratory stage we studied the Reactable, a commercial musical tabletop designed for beginners and experts. In particular, we explored its use in two environments: a multi-session study with expert musicians in a casual lab setting; and a field study with casual visitors in a science centre. In the experimental stage we conducted a controlled experiment for mixed groups using a bespoke musical tabletop interface, SoundXY4. The design of this study was informed by the previous stage about a need to support better real-time awareness of the group activity (workspace awareness) in early interactions. For the three studies, groups musical improvisation was video-captured unobtrusively with the aim of understanding natural uses during group musical practice. Rich video data was carefully analysed focusing on the nature of social interaction and how workspace awareness was manifested. The findings suggest that musical tabletops can support peer learning during multiple sessions; fluid between-group social interaction in public settings; and a democratic and ecological approach to music performance. The findings also point to how workspace awareness can be enhanced in early interactions with TTIs using auditory feedback with ambisonics spatialisation. The thesis concludes with theoretical, methodological, and practical implications for future research in New Interfaces for Musical Expression (NIME), tabletop studies, and Human-Computer Interaction (HCI)