Abstracts for DRHA 2015 can now be viewed!
I am pleased to announce that “U – Modified” (an audiovisual collaboration with Siobhan Mannion & Sara Wentworth) will be included in this year’s DRHA conference in Dublin on Wednesday, 2nd September 2015.
You can catch U – Modified in the The Hub DCU Student Centre between 14:00 and 16:00. The original 10 minute found sounds and extended vocal techniques composition has been further refined and expanded to include visualisations reflective of the themes that were developed for the live performance at the INTIME symposium in 2014.
The proceedings for CMMR that took place in Plymouth, UK on the 16-19 June 2015 are now available to read here.
HCI Models for Digital Musical Instruments: Methodologies for Rigorous Testing of Digital Musical Instruments (p. 534)
Digital Musical Instrument Analysis: The Haptic Bowl (p.591)
There is also a brief video with highlights from the concert performances.
My paper “Vibrotactile Discrimination of Pure and Complex Waveforms.” will be included in the 12th Sound and Music Computing Conference hosted in Maynooth, Ireland. I look forward to seeing all of the delegates there and hearing what the keynotes have to say about their fields of study.
Here’s the abstract for my paper!
Here we present experimental results that investigate the application of vibrotactile stimulus of pure and complex waveforms. Our experiment measured a subject’s ability to discriminate between pure and complex waveforms based upon vibrotactile stimulus alone. Subjective same/different awareness was captured for paired combinations of sine, saw, and square waveforms at a fixed fundamental frequency of 160 Hz (f0). Each arrangement was presented non-sequentially via a gloved vibrotactile device. Audio and bone conduction stimulus were removed via headphone and tactile noise masking respectively. The results from our experiments indicate that humans possess the ability to distinguish between different waveforms via vibrotactile stimulation when presented asynchronously at f0 and that this form of interaction may be developed further to advance digital musical instrument (DMI) extra-auditory interactions in computer music.
The 11th International Symposium on Computer Music Multidisciplinary Research (CMMR). Music, Mind, and Embodiment .
My thanks to the CMMR committee and all of the people who made the event a success.
G. W. Young and D. Murphy, “HCI Models for Digital Musical Instruments: Methodologies for Rigorous Testing of Digital Musical Instruments,” in the 11th Int. Symp. on Computer Music Multidisciplinary Research, Plymouth, UK, 2015.
G. W. Young and D. Murphy, “Digital Musical Instrument Analysis: The Haptic Bowl,” in the 11th Int. Symp. on Computer Music Multidisciplinary Research, Plymouth, UK, 2015.
SMC 2015 at Maynooth coming next.
I will be presenting at the next IDEAS meeting at UCC on the 12th June, 2015.
See you there…
G. W. Young, “Vibrotactile Feedback in Digital Musical Instrument Design,” at the IDEAS Group meeting, University College Cork, Cork, Ireland, June 12, 2015.
Here we will be taking a look at the GameTrak game controller and modifying it to use with a PC. The first step to to this project is to check out these links and follow the steps to determine if your GameTrak is the easily modified Gen I or the difficultly modified Gen II:
Also look here for more info:
We will be going through a number of steps to circumvent the limitations of the Gen II. There are other options for making use of the original cct board, but I think that they are overly complicated and not very hobbyist friendly, so here goes…
You will need a small crosshead or phillips screwdriver, a soldering iron and the skills that are needed to operate these tools, and a knowledge of things an Arduino hobbyist would know, but do not fear, there’s a whole community of individuals out there to offer assistance and a friendly smile for Arduino.
After going through the steps found in the first link above, you may be faced with this cct board and a sad face will be forming in the general area of your head, but do not despair! You do not need to re-list on eBay or return to sender on Amazon, you need to go buy an Arduino: http://store.arduino.cc/category/11 I have a 100% working example on the Arduino Uno smd edition and I’m working on an Arduino micro at the moment too.
The cables you see above relate to the inputs and outputs from the variable resistors for the left, right, and up/down inputs (I will refer to these as x, y, z). There is also a power supply and ground for each of these variables. You should cut the heads off all of them all and group the reds and blacks separately. These are the 5v supply (red) and ground (black) for each variable resistor. The yellow, orange, and white cables are your analogue variables that control the x, y, and z input, specifically: x, y (orange and white) and z (yellow), this is multiplied by 2 because there are two sides to the GameTrak.
Those of you familiar with Arduino should see a pattern forming. Yup, the 5v and earth connect to the 5v supply and earth terminals on the Arduino, and the analogue outs from the variable resistors should be connected to the A0 – A5 analogue ins. Sounds simple, but might be a little advanced for a total beginner. I suggest that a small pin board is soldered together to assist in plugging in and out of the Arduino terminals. Feel free to hit the Arduino forums about analogue ins/outs and building breadboard/stripboard prototypes. In the picture above you will see that I have also made a little table for the Arduino and routed the USB off to the right. This is beacuse…
I have cut the GameTrak out of its original shell. Here’s where your imagination should go wild. The original black case is dull dull dull and not very nice at all. The major components are the variable resistors, so keep them. The big reveal… a haptic bowl!
There are a few other modifications to the GameTrak that I made to make it haptic, but I’ll go through them at the end of the walkthrough.
What happens next is that the Arduino needs to be programmed to convert your analogue inputs into computer readable code (visit Arduino for more info). For this project I used the standard Firmata included with the Arduino software as such: plug in your Arduino to a USB port, open the Arduino software, click File>Examples>Firmata>StandardFirmata. A new window will open with the code to be uploaded to your Arduino. Verify the code (tick button top left) and upload it (arrow right button next to the verify button). Your Arduino should now be communicating with your PC via serial data. Next up is translating this code to something that you can work with. For this I use a program called Processing. There’s a tutorial up for this with the Arduino code taken from the tutorial at http://www.arduino.cc/playground/Interfacing/Processing. I chose processing for this job because I can now route the input from the Arduino over a network via OSC messaging. Which is handy. There are other methods of applying the Arduino inputs directly into Pure Data or MAX/MSP, but the freedom to route messages over a network works best for me. Ultimately, I do use Pure Data to read the OSC messages, but the ability to route over the network is still available if I need it. Here’s the PD patch for reading OSC…
You can see in the picture above that the analogue inputs range from 0 to 1023 and the digital pins are represented by a 0 or 1. There is a slight mistake in the above patch because the 0-1 (Tx/Rx) digital pins are not active in the Processing software. The patch still works, just don’t expect anything to appear on /digital/0 or /digital/1. The digital pins can be set up as digital switches, such as momentary floor switches etc. That’s about it for the refurbishing of the GameTrak. Ask me questions if you get stuck or hit up the forums for Arduino and Processing. Stick around for a look at what I did next…
Inside my bowl I added the components of an X100 from Logitech. This speaker is Bluetooth, so attaches to your PCs audio output wirelessly. The tiny amp is used to drive the speaker and is also routed to an audio jack output on top of the bowl. With the GameTak gloves and audio jack plugged in we need to modify our gloves a little. Inside each glove is an audio frequency vibrating transducer. If you look at my previous project to do with gloves, you will see what I’m talking about. The transducers are connected to the audio amp via telephone wire, in series with each other and parallel to the speaker. This balances the impedances of the drivers to one that the amp can handle.
With the combined spring return force of the GameTrak mechanics and the vibrational elements of the glove, we have the force and tactile elements of a haptic system. We can now route tactile information to the performer that can pertain to near anything in the vibrotactile detection range and capture movements to be broadcast over a network via OSC. Cool huh?
INTIME 2014 Symposium
Voice and Text: Experimentation/ Transformation
The annual INTIME Symposium is a two-day symposium of papers and performances hosted by the INTIME music research group at Coventry University. The symposium seeks to discuss and theorise current practice in experimental music. It aims to deepen our understandings of existing and emerging repertoires and practices.
Evoking the Narrative: A Brief Description of “U” (2014)
G. W. Young & S. Mannion
Experimentation and transformation are facets of the dream-like narrative evoked from this fixed tape performance of “U”. This is further modified by the addition of advanced vocal techniques provided by voice. Sound operates within this arrangement to construct a surreal plateau of looped and tangential narratives that serve to mix reality with dream. It is the sonic overlapping of these two themes that operate to inform the listener’s own construct and evaluation of a sonic storyline. The movement of this narrative through diegetic, extradiegetic, and metadiegetic motifs, the manipulation of the spatiotemporal experience, and the evocation of memory are all represented through metaphoric sonic events. The vocalist, by imitating, developing and distorting sonorities from the tape in a live setting, assists the listener in their journey to the great unknown. A subtle pattern to guide and inspire listeners is presented, one that summons memories of reality and dream, a fictitious spatiotemporal experience that forms a complex warren of thoughts. The journey of the listener is unclear and unresolved by the end, a mysterious excursion that is unfathomable. We intentionally produce vagaries between realism, recollection, and insentient thoughts. The role of this joint project is not simply to present a story, but to summon one from within the listener, to embody this, and to affect its outcome.
G. W. Young:
Gareth is a graduate of Glyndŵr University, Wales, where he studied Sound and Broadcast Engineering. After graduating with honours, he moved to Dundalk in 2007 to study Music Technology. He gained his M.Sc. in 2009 and is currently studying for his Ph.D. at University College Cork. His research interests revolve around haptic feedback for new musical devices. For further information see GarethYoung.org.
Siobhán Mannion, a native of Galway, is currently a PhD student of Music Composition at University College Cork. Siobhán is a graduate of NUI Maynooth where she received a BA in Music and Anthropology, and an MA in Music Composition. Siobhán is currently fulfilling her doctoral research focusing on choral music using extended vocal techniques under the supervision of John Godfrey.
40th International Computer Music Conference
joint with the
11th Sound and Music Computing conference
Music Technology Meets Philosophy:
From digital echos to virtual ethos
ICMC | SMC |2014
14-20 September 2014, Athens, Greece
Jeffrey Weeter, Derek Foott
The Box multimedia performance 15′
is a multimedia performance utilizing a newly designed interface. The
source material for the performance derives from an old bottling plant,
now used as a storage facility. In this space, cameras and audio recorders
were used to sample the slowly disintegrating source material consisting of
generators, animal cages, outdated technology, office furniture, sinks and a
few other surprises. “The Box” seeks to breathe new life into these objects.
On stage the performers will be using a newly made performance controller
to interact with the audio-visual source materials. Each of the performers
will perform with a wooden box equipped with buttons, thermistors,
photoresistors and infrared motion controllers. In this box, the source
material will be manipulated by the hands of the performer, creating a
striking visual representation of how we creatively handle objects. All of the
controllers are part of a network of control information used for real time
processing/performance of audio and video.
Jeffrey Weeter: From Cork, Ireland, CAVE is University College Cork,
School of Music and Theatre’s newest performance ensemble. Cork
Audio Visual Ensemble is a technology-based group consisting of 7
students under the direction of Jeffrey Weeter and Derek Foott
working to explore the musicality of technology through
performance and computer processing. The CAVE performers are
Jason Shannon, Eric Browne, Sara Wentworth, Gareth Young,
Flannery Cunningham, Morgan D’Arcy and Eamon Ivri.