DOCSLIB.ORG

Continuum and Continuumini User ' S Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Continuum and Continuumini User ' S Guide Continuum and ContinuuMini User’ s Guide November 10, 2019 Firmware Version 9.0 Edmund Eagan, Lippold Haken, and Richard Kram Haken Audio - Continuum Fingerboard User’s Guide About this document This User Guide includes information for the Full-size Continuum Fingerboard, the Half-size Continuum Fingerboard (also referred to as “Continuum”), and the ContinuuMini (also referred to as “Mini”). The current version of this document can be found online in the Resources section of www.HakenAudio.com. We suggest new Continuum Fingerboard owners read this guide at least up to Section 10. New ContinuuMini owners should consult section 16. The knowledge you gain will save you time in the future and significantly enhance your experience with your Continuum Fingerboard or ContinuuMini. After you finish reading this guide, please keep it available as a reference. Continuum Fingerboard, Continuum, ContinuuMini, Haken Continuum, Haken ContinuuMini, Haken, and EaganMatrix are trademarks (TM) of Haken Audio. Eagan Instruments, Eagan Sounds, and Eagan are trademarks (TM) of Edmund Eagan. All other trademarks are property of their respective owners. IMPORTANT! The analog audio output of the Continuum and ContinuuMini is a TRS stereo (unbalanced) connection. DO NOT use a mono TS audio cable to connect to this output. Damage to the analog circuitry can be caused by doing this for an extended time period. Refer to the hook up diagrams in Section 12 for proper Continuum Fingerboard connections. Page 2 Haken Audio - Continuum Fingerboard User’s Guide Table of Contents 1. Overview of the Continuum Fingerboard 7 1.1. The Playing Surface 7 1.2. The EaganMatrix 8 1.3. What Sets the Continuum Fingerboard Apart 8 2. Haken Audio Hardware 11 2.1. The Continuum Fingerboard 11 2.2. The Continuum EaganMatrix Expander (CEE) 12 2.3. The ContinuuMini 13 2.4. The Continuum Voltage Converter (CVC) 15 3. Historical Context 15 3.1. Touche 16 3.2. Fast Continuous-Pitch Playing 17 4. Midi Encoding 19 4.1. Encoding Principles of the Continuum Fingerboard 19 4.2. Connecting an External Midi Synthesizer 20 4.3. Specialized Kyma Encoding 23 5. Specifications 24 5.1. Left and Right Panels of the Full-size and Half-size Continuum Fingerboard 24 5.2. Hardware Specifications for the Full-size, Half-size, and ContinuuMini 26 6. Operating the Continuum Fingerboard 27 6.1. Turning On the Continuum Fingerboard 27 6.2. Playing the Continuum Fingerboard 28 6.3. Mono (Multiple Fingers Combined Create a Single Note) 30 6.4. Rounding, Pitch Tables, and the Pitch Table Editor 33 6.5. Pedal Jacks 36 6.6. Kenton Mini Controller and Kenton USB Midi Host 37 6.7. Arturia BeatStep 40 6.8 Ankorage Continuum Remote Continuum Kiosk 42 7. Calibration of the Continuum Fingerboard 43 8. Introduction to the Haken Editor 45 Page 3 Haken Audio - Continuum Fingerboard User’s Guide 8.1. Setting up the Haken Editor 46 8.2. Using the Haken Editor 48 8.3. Haken Editor Shortcuts 50 8.4. Current Preset and Selecting System Presets 51 8.5. Open and Save User Presets in the Editor 52 8.6. User Preset Slots and Preset Groups 52 8.7. Open a Preset Group File 54 8.8. Save a Preset Group File 54 8.9. CEE Combination Presets 56 8.10. Designing Sounds for the Continuum Fingerboard and ContinuuMini 57 9. Introduction to the Overlay Strip 60 10. Configuration Options (via Haken Editor and Overlay Strip) 61 10.1. Gain 62 10.2. Internal Sound (Load System Preset) 62 10.3. Midi Program, Midi Routing 63 10.4. CVC 65 10.5. Polyphony 65 10.6. Channel (Note) Priority 66 10.7. X Bend 67 10.8. Y Control 68 10.9. Z Control 68 10.10. Midi Note Processing 69 10.11. Middle C 70 10.12. Split Point and Split Mode 71 10.13. Mono Function and Mono Interval 73 10.14. Round Initial, Normal Rounding, Release Rounding, Rounding via Y 74 10.15. Round Rate 75 10.16. Tuning (Select Pitch Table) 76 10.17. Pedal 1 and Pedal 2 77 10.18. Pedals Min and Max 77 10.19. Options 79 10.20. Send 80 10.21. Load and Store (User Preset Slots) 80 10.22. Cogwheel Menu: Global Settings, Kenton Settings, Pitch Table Editor, User Guides, Editor Shortcuts, Barrel Styles, List of System Presets, About 81 10.23. Surface Display 82 10.24. Pitch Trim 83 11. Loading New Firmware into the Continuum Fingerboard or ContinuuMini 85 12. Connecting to External Hardware and the Editor 86 Page 4 Haken Audio - Continuum Fingerboard User’s Guide 12.1. Analog Audio Only 86 12.2. Digital Audio 87 12.3. Analog Audio and CVC 88 12.4. Digital Audio and CVC 89 12.5. Analog Audio and CEE 90 12.6. Digital Audio and CEE 91 12.7. Analog Audio, CVC and CEE 92 12.8. Digital Audio, CVC and CEE 93 12.9. Connecting a Softsynth 94 12.10. Connecting to Kyma (Mac) 95 12.11. Connecting to Kyma (PC) 96 12.12. Connecting Midi Keyboard, Continuum and Kyma (Mac) 97 12.13. Connecting Midi Keyboard, Continuum and Kyma (PC) 98 12.14. Connecting to External Midi Synthesizer 99 12.15. Connecting a Kenton Controller with Computer 101 12.16. Connecting a Kenton Controller Standalone (No Computer) 102 12.17. Connecting a BeatStep with Computer 103 12.18. Connecting a BeatStep Standalone (No Computer) 103 13. Hardware Maintenance for the Continuum Fingerboard 105 13.1. Cleaning 105 13.2. Surface Alignment 105 13.3. Continuum Fingerboard Hardware Problems 106 13.4. Sensor Stuck On, or Sensor Intermittently Turn On 107 13.5. Sensor Stuck Off – Marking a Flawed Sensor 107 13.6. Clearing the Flawed Sensor List 108 13.7. Factory Calibration of the Continuum Fingerboard 108 13.8. Do - It - Yourself Repairs and Adjustments 108 14. Performance Controller Assignments 109 14.1. Sending Midi Performance Values to the Continuum Fingerboard 109 14.2. Receiving Midi Performance values from the Continuum Fingerboard 109 14.3. Assignments 109 15. Configuration Controller Assignments 111 15.1. Load, Store, and List Presets 111 15.2. Midi Device Compatibility 113 15.3. X, Y, and Z Coding 113 15.4. Rounding and Pitch Tables 114 15.5. Polyphony, Routing, and Split 115 15.6. Pedals (see also Section 14) 116 15.7. Mono Function 116 15.8. Firmware Version and CVC Serial Number 117 15.9. Other Configuration Controller Assignments 117 16. Using the ContinuuMini 119 Page 5 Haken Audio - Continuum Fingerboard User’s Guide 16.1. Connecting Up 120 16. 2. The ContinuuMini Seven Segment Display 122 16.3 Preset Display 123 16.4. Connecting to the EaganMatrix (Haken Editor) 124 16.5. Playing the ContinuuMini 125 16.6 Octave Buttons and ContinuuMini Range 127 16.6. Menu Mode Options and Preset Selection 128 16.7. CVC Connection and Setup (Used with “I2C” setting = 1) 133 16.8. Pitch Reference 136 16.9. Continuum vs. ContinuuMini Presets and Usage 137 16.10. Use of Pedals and System Presets on the ContinuuMini 138 16.11. Error Codes 139 16.12. Using the ContinuuMini in Parallel with a Half or Full Size Continuum 140 16.13 Playing the ContinuuMini from an External MIDI Controller Through EaganMatrix 140 16.14. Monophonic vs. Duophonic vs. Polyphonic MPE ContinuuMini Operation 142 16.15. Playing the ContinuuMini from the Continuum 146 16.16. Playing the Continuum from the ContinuuMini 147 16.17. Playing the ContinuuMini from Other MPE and non-MPE MIDI Instruments/Controllers through the EaganMatrix - Use Cases 147 16.17. Playing the ContinuuMini Directly from Another Source 149 16.18 Connecting the Anckorage Spring Sound App to the ContinuuMini 150 16.19. Recording the ContinuuMini with a DAW for processing and playback 152 16.19. ContinuuMini Troubleshooting Use Cases 154 Page 6 Haken Audio - Continuum Fingerboard User’s Guide 1.0 Overview of the Continuum Fingerboard 1.1. The Playing Surface The Haken Audio Continuum Fingerboard tracks the position and pressure of fingers on its playing surface. Unlike a Midi keyboard, which only starts and stops notes, the Continuum Fingerboard lets the performer intimately interact with the sound throughout every note, breathing life and expression into the musical performance. The Continuum Fingerboard is neither an easy- to-use gadget nor a device for replacing electronic or acoustic instruments; instead, it is a new instrument in its own right, with immediate appeal as well as lifelong challenges for the serious musician. The Continuum Fingerboard has a built-in synthesizer specifically designed for Continuum playing. The internal synthesizer has predefined sounds as well as the ability to create user- defined sounds. Stereo output from the internal synthesizer can be heard through the high quality analog output (stereo line level and headphone level) as well as the AES digital audio outputs. The Full-size and Half-size Continuum Fingerboards share the same sensing technology and differ only in playing surface size. The ContinuuMini is a much smaller device, sharing the same synthesis technology but simplified finger sensing. The ContinuuMini can track the pitch of only one or two fingers. The Haken Editor application (for Mac and Windows), connects to the Continuum Fingerboard via Midi. The Continuum Fingerboard performance data can control external synthesizers via Midi, or analog modular synths via the Continuum Voltage Converter. Page 7 Haken Audio - Continuum Fingerboard User’s Guide 1.2. The EaganMatrix The EaganMatrix is the modular digital synthesizer built into the Continuum Fingerboard and ContinuuMini. For the Performer Many new sound algorithms have been finely crafted with the EaganMatrix. These EaganMatrix Presets exploit the unprecedented control possible with the Continuum Fingerboard.
Load more

Recommended publications
  • ZGMTH Zeitschrift Der Gesellschaft Für Musiktheorie Herausgegeben Von
    Zeitschrift der ZGMTH Gesellschaft für Musiktheorie 14. Jahrgang 2017 Herausgegeben von Ariane Jeßulat, Ullrich Scheideler, Kilian Sprau, Christian Utz, Verena Weidner, Felix Wörner A01-Titelimpressum.indd 1 07.09.18 17:31 ZGMTH Zeitschrift der Gesellschaft für Musiktheorie e. V. https://doi.org/10.31751/zgmth Wissenschaftlicher Beirat der Gesellschaft für Musiktheorie: Jean-Michel Bardez (Paris), Thomas Christensen (Chicago), Nicholas Cook (Cambridge), Jonathan Cross (Oxford), Hermann Danuser (Berlin), Helga de la Motte- Haber (Berlin), Hartmut Fladt (Berlin), Allen Forte (†, New Haven), Inga Mai Groote (Zürich), Renate Groth (†, Bonn), Thomas Kabisch (Trossingen), Eckehard Kiem (†, Freiburg), Clemens Kühn (Dresden), Nicolas Meeùs (Paris), Alexander Rehding (Cambridge, MA), Christian Martin Schmidt (Berlin), Michiel Schuijer (Amsterdam). 14. Jahrgang 2017 https://doi.org/10.31751/42 (Ausgabe 14/1); https://doi.org/10.31751/44 (Ausgabe 14/2) Herausgeber: Prof. Dr. Ariane Jeßulat, Alt-Friedrichsfelde 126, 10315 Berlin, [email protected] Dr. Ullrich Scheideler, Müllerstraße 150, 13353 Berlin, [email protected] Dr. Kilian Sprau, Georg-Hann-Str. 17, 81247 München, [email protected] Univ.-Prof. Dr. Christian Utz, Mariahilferstraße 56/27, A-1070 Wien, [email protected] Dr. Verena Weidner, Wittstocker Str. 8, 10553 Berlin, [email protected] Dr. Felix Wörner, Manzentalstraße 37, 79541 Lörrach, [email protected] Die Herausgeber sind per E-Mail erreichbar unter: [email protected]. Layout: Poli Quintana / Oliver Schwab-Felisch Satz: Werner Eickhoff-Maschitzki, Umschlag: Oliver Schwab-Felisch Notensatz und Grafik: Werner Eickhoff-Maschitzki Erscheinungsweise: jährlich. Beiträge und Anfragen senden Sie vorzugsweise in elektronischer Form an: [email protected]. Postzusendungen (z. B. Rezensionsexemplare von Druckschriften) nimmt entgegen: Prof.
    [Show full text]
  • Trautonium - Wikipedia
    18/2/2018 Trautonium - Wikipedia Trautonium The T rautonium is a monophonic electronic musical instrument invented[1] about 1929 by Friedrich Trautwein in Berlin at the Musikhochschule's music and radio lab, the Rundfunkversuchstelle.[2] Soon Oskar Sala joined him, continuing development until Sala's death in 2002. Contents Telefunken Volkstrautonium, 1933 (Telefunken Trautonium Ela T 42 (1933–35)) a Description product version of the Trautonium co-developed by Telefunken, Friedrich Trautwein and Oskar Sala Manufacturers since 1931. Present Trautonium performers Gallery See also Notes Sources External links Description Instead of a keyboard, its manual is made of a resistor wire over a metal plate, which is pressed to create a sound. Expressive playing was possible with this wire by gliding on it, creating vibrato with small movements. Volume was controlled by the pressure of the finger on the wire and board. The first Trautoniums were marketed by Telefunken from 1933–35 (200 were made). The sounds were at first produced by neon-tube relaxation oscillators [3] (later, thyratrons, then transistors), which produced sawtooth-like waveforms.[4] The pitch was determined by the amount of resistive wire chosen by the performer (allowing vibrato, quarter-tones, and portamento). The oscillator output was fed into two parallel resonant filter circuits. A footpedal controlled the volume ratio of the output of the two filters, which was sent to an amplifier.[5] On 20 June 1930 Oskar Sala and Paul Hindemith gave a public performance at the Berliner
    [Show full text]
  • The Hybrid Mobile Instrument: Recoupling the Haptic, the Physical, and the Virtual
    THE HYBRID MOBILE INSTRUMENT: RECOUPLING THE HAPTIC, THE PHYSICAL, AND THE VIRTUAL A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Romain Pierre Denis Michon June 2018 © 2018 by Romain Pierre Denis Michon. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/rd318qn0219 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Chris Chafe, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Julius Smith, III, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ge Wang I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Matthew Wright, Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • On the Playing of Monodic Pitch in Digital Music Instruments
    Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece ON THE PLAYING OF MONODIC PITCH IN DIGITAL MUSIC INSTRUMENTS Vincent Goudard Hugues Genevois Lionel Feugere` Institut Jean Le Rond d’Alembert, Institut Jean Le Rond d’Alembert, LIMSI-CNRS, UMR 7190 - equipe´ LAM, UMR 7190 - equipe´ LAM, F-91403 Orsay Cedex, France. UPMC Univ Paris 06, UPMC Univ Paris 06, UPMC Univ Paris 06, F-75005 Paris, France. F-75005 Paris, France. F-75005 Paris, France. [email protected] [email protected] [email protected] ABSTRACT sweeps. Iannis Xenakis’ Metastasis, created in 1955 at Donaueschingen festival, stands among the most signifi- This paper addresses the issue of controlling monodic pitch cant works that arised from this research. in digital musical instruments (DMIs), with a focus on in- The concept of pitch, and the theories on harmony brought struments for which the pitch needs to be played with accu- up with it, is a vast field of study. This article focuses on racy. Indeed, in many cultures, music is based on discrete playing techniques, that allow to control precisely the pitch sets of ordered notes called scales, so the need to control on a digital music instrument (DMI). As developers and pitch has a predominant role in acoustical instruments as players of such musical instruments, we will take here a well as in most of the DMIs. But the freedom of param- closer look at the interfaces and algorithms meant for con- eter mapping allowed by computers, as well as the wide tinuous control of pitch. This article will aim at reviewing range of interfaces, opens a large variety of strategies to existing techniques as well as introduce techniques devel- control pitch in the DMIs.
    [Show full text]
  • 2008 a Chronology of Electronic and Computer Music
    (without A Chronology / History of Electronic and Computer Music and Related Events 1900 - 2014 frames) Last updated 5 January 2013 This page is currently being maintained. Please send suggestions and corrections to a subject of 'Chronology' gets my attention. © Copyright 2008-2014* Paul Doornbusch. This is a somewhat extended and updated version based on the same item originally published in The Oxford Handbook of Computer Music late in 2009. When attempting such a chronology or timeline, even one such as this which mostly ignores the commercial music world, it quickly becomes apparent that there is so much activity that it will necessarily be incomplete. It is impossible to list all of the events which have taken place in any locale or time. Given these limitations, perhaps this is still of some limited use as some sort of chronological overview of computer music research and related events, and I welcome suggestions for updates. This concentrates on electronic and computer music and includes fewer details of commercial music than a more comprehensive chronology might. Please see the references for a more detailed treatment of events (note 1). Year Selected Significant Musical Main Technological Events Electronic / Computer Events Music Events < Cylinder and disk recordings 1900 are common, as is the telephone. Moving pictures exist, but not with sound. 1906 First public performances of J. L. Baird creates the first Thaddeus Cahill's working (electromechanical) Dynamophone, also known as television. the Telharmonium (developed in 1897). Frank Conrad makes the first radio broadcast of audio. Lee De Forest develops the Triode (thermionic valve) or Audion tube, the first vacuum tube, which brought with it electronic amplification.
    [Show full text]
  • Intimate Control for Physical Modeling Synthesis
    Intimate Control for Physical Modeling Synthesis by Randall Evan Jones B.Sc. University of Wisconsin–Madison 1993 A Thesis Submitted in Partial Fullfillment of the Requirements for the Degree of MASTER OF SCIENCE in the Department of Computer Science c Randall Evan Jones, 2008 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Intimate Control for Physical Modeling Synthesis by Randall Evan Jones B.Sc. University of Wisconsin–Madison 1993 Supervisory Committee Dr. George Tzanetakis (Department of Computer Science) Supervisor Dr. W. Andrew Schloss (School of Music) Co-Supervisor Dr. Peter Driessen (Department of Electrical and Computer Engineering) Outside Member Dr. W. Tecumseh Fitch (School of Psychology, University of St. Andrews, Scotland) External Examiner iii Supervisory Committee Dr. George Tzanetakis (Department of Computer Science) Supervisor Dr. W. Andrew Schloss (School of Music) Co-Supervisor Dr. Peter Driessen (Department of Electrical and Computer Engineering) Outside Member Dr. W. Tecumseh Fitch (School of Psychology, University of St. Andrews, Scotland) External Examiner Abstract Physical modeling synthesis has proven to be a successful method of synthesizing real- istic sounds, but providing expressive controls for performance remains a major challenge. This thesis presents a new approach to playing physical models, based on multidimensional signals. Its focus is on the long-term research question, “How can we make a computer- mediated instrument with control intimacy equal to the most expressive acoustic instru- ments?” In the material world, the control and sounding properties of an instrument or other object are intimately linked by the object’s construction.
    [Show full text]
  • Intimate Control for Physical Modeling Synthesis
    Intimate Control for Physical Modeling Synthesis by Randall Evan Jones B.Sc. University of Wisconsin–Madison 1993 A Thesis Submitted in Partial Fullfillment of the Requirements for the Degree of MASTER OF SCIENCE in the Department of Computer Science c Randall Evan Jones, 2008 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Intimate Control for Physical Modeling Synthesis by Randall Evan Jones B.Sc. University of Wisconsin–Madison 1993 Supervisory Committee Dr. George Tzanetakis (Department of Computer Science) Supervisor Dr. W. Andrew Schloss (School of Music) Co-Supervisor Dr. Peter Driessen (Department of Electrical and Computer Engineering) Outside Member Dr. W. Tecumseh Fitch (School of Psychology, University of St. Andrews, Scotland) External Examiner iii Supervisory Committee Dr. George Tzanetakis (Department of Computer Science) Supervisor Dr. W. Andrew Schloss (School of Music) Co-Supervisor Dr. Peter Driessen (Department of Electrical and Computer Engineering) Outside Member Dr. W. Tecumseh Fitch (School of Psychology, University of St. Andrews, Scotland) External Examiner Abstract Physical modeling synthesis has proven to be a successful method of synthesizing real- istic sounds, but providing expressive controls for performance remains a major challenge. This thesis presents a new approach to playing physical models, based on multidimensional signals. Its focus is on the long-term research question, “How can we make a computer- mediated instrument with control intimacy equal to the most expressive acoustic instru- ments?” In the material world, the control and sounding properties of an instrument or other object are intimately linked by the object’s construction.
    [Show full text]
  • On the Playing of Monodic Pitch in Digital Music Instruments Vincent Goudard, Hugues Genevois, Lionel Feugère
    On the playing of monodic pitch in digital music instruments Vincent Goudard, Hugues Genevois, Lionel Feugère To cite this version: Vincent Goudard, Hugues Genevois, Lionel Feugère. On the playing of monodic pitch in digital music instruments. ICMC/SMC 2014, Sep 2014, Athènes, Greece. pp.1418. hal-01073240 HAL Id: hal-01073240 https://hal.archives-ouvertes.fr/hal-01073240 Submitted on 9 Oct 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece ON THE PLAYING OF MONODIC PITCH IN DIGITAL MUSIC INSTRUMENTS Vincent Goudard Hugues Genevois Lionel Feugere` Institut Jean Le Rond d’Alembert, Institut Jean Le Rond d’Alembert, LIMSI-CNRS, UMR 7190 - equipe´ LAM, UMR 7190 - equipe´ LAM, F-91403 Orsay Cedex, France. UPMC Univ Paris 06, UPMC Univ Paris 06, UPMC Univ Paris 06, F-75005 Paris, France. F-75005 Paris, France. F-75005 Paris, France. [email protected] [email protected] [email protected] ABSTRACT sweeps. Iannis Xenakis’ Metastasis, created in 1955 at Donaueschingen festival, stands among the most signifi- This paper addresses the issue of controlling monodic pitch cant works that arised from this research.
    [Show full text]
  • Buttons, Handles, and Keys
    %XWWRQV+DQGOHVDQG.H\V$GYDQFHVLQ&RQWLQXRXV&RQWURO .H\ERDUG,QVWUXPHQWV $QGUHZ0F3KHUVRQ Computer Music Journal, Volume 39, Number 2, Summer 2015, pp. 28-46 (Article) 3XEOLVKHGE\7KH0,73UHVV For additional information about this article http://muse.jhu.edu/journals/cmj/summary/v039/39.2.mcpherson.html Access provided by Queen Mary, University of London (5 Jan 2016 09:47 GMT) Andrew McPherson Buttons, Handles, and Centre for Digital Music Queen Mary University of London Mile End Road, London E1 4NS, UK Keys: Advances in [email protected] Continuous-Control Keyboard Instruments Abstract: The keyboard is one of the most popular and enduring musical interfaces ever created. Today, the keyboard is most closely associated with the acoustic piano and the electronic keyboards inspired by it, which share the essential feature of being discrete: Notes are defined temporally by their onset and release only, with little control over each note beyond velocity and timing. Many keyboard instruments have been invented, however, that let the player continuously shape each note. This article provides a review of keyboards whose keys allow continuous control, from early mechanical origins to the latest digital controllers and augmented instruments. Two of the author’s own contributions will be described in detail: a portable optical scanner that can measure continuous key angle on any acoustic piano, and the TouchKeys capacitive multi-touch sensors, which measure the position of fingers on the key surfaces. These two instrument technologies share the trait that they transform the keys of existing keyboards into fully continuous controllers. In addition to their ability to shape the sound of a sustaining note, both technologies also give the keyboardist new dimensions of articulation beyond key velocity.
    [Show full text]
  • DVD Program Notes
    DVD Program Notes Part One: Colby Leider, Curator Motivated by my interests both in mation artist Stephanie Maxwell, Curator’s Note multichannel composition and alter- maps and weaves an uncharted terri- nate controllers, this compilation is tory of sound and image that have built loosely around contrasting been subjected to physical manipula- To highlight some of the outstanding themes of the subtle stasis of audio- tion, even as it embraces relatively surround audio, multimedia work, visual ambience versus the biting simple building blocks of points, and new musical controllers being drive of jagged pointillism, of slow- lines, curves, and largely isolated created by members of the computer moving glaciers against pins and nee- events in both its visual and its mu- music community, the editors of dles. Simply stated, these works sical material. Computer Music Journal decided to speak to the intensity of experience Copper Islands, by composer and issue a two-hour DVD-Video disc to that can be created by either slow or video artist Kristine H. Burns, ex- accompany Volume 27. The disc is fast rates of change of materials. plores a delicate interplay between playable on any DVD-equipped com- Benjamin Broening’s (after) grace- sounds and abstract isomorphic tex- puter or commercial home-theater fully navigates through a referential tures. Consisting of relatively simple DVD player, and the built-in Dolby fantasy on works by John Dowland synthesized video and audio, the Digital decoder found on most home- and William Byrd. The result is a work exhibits an astonishing com- theater audio amplifiers will allow kind of blissful faded memory and a plexity of gestalt through the contin- many of the works to be heard in 5.1 powerful reminder of the computer’s uous yet subtle shift of audio-visual surround (Left, Center, Right, Left ability to help composers investigate, synchrony.
    [Show full text]
  • ZGMTH Zeitschrift Der Gesellschaft Für Musiktheorie Dreyer
    Zeitschrift der ZGMTH Gesellschaft für Musiktheorie Dreyer, Hubertus / Horn, Pascal (2017): Schnittstellen zwischen performance und Ana- lyse von Popmusik. Performative Produktionsprozesse in Pink Floyds Album Wish You Were Here und Jordan Rudess’ Coverversion von Genesis’ Dance on a Volcano. ZGMTH 14/1, 133–159. https://doi.org/10.31751/888 © 2017 Hubertus Dreyer ([email protected]; Pascal Horn ([email protected]) Dieser Text erscheint im Open Access und ist lizenziert unter einer Creative Commons Namensnennung 4.0 International Lizenz. This is an open access article licensed under a Creative Commons Attribution 4.0 Inter- national License. eingereicht / submitted: 16/03/2017 angenommen / accepted: 29/03/2017 veröffentlicht / first published: 30/06/2017 zuletzt geändert / last updated: 13/09/2018 B06-17-1-06 Deckblatt Dreyer.indd 1 11.09.18 17:39 Schnittstellen zwischen performance und Analyse von Popmusik Performative Produktionsprozesse in Pink Floyds Album Wish You Were Here und Jordan Rudess’ Coverversion von Genesis’ Dance on a Volcano1 Hubertus Dreyer, Pascal Horn ABSTRACT: In Popmusik ist die in jüngerer Zeit von den musical performance studies gene- rell hinterfragte Trennung zwischen ›Werk‹ und ›Interpretation‹ kaum anwendbar, performance (gerade auch, wenn sie vorwiegend im Studio stattfindet) kann als ein integraler Bestandteil eines Songs oder Albums verstanden werden. Der vorliegende Beitrag versucht, Schnittstellen zwischen der Analyse von performance und musikalischer Analyse von Popmusik aufzuzeigen: Einerseits gibt eine Untersuchung der Studioarbeit von Popkünstler*innen nicht nur Einblicke in die Entstehung von Popmusik, sondern erlaubt auch Rückschlüsse auf Ästhetik und musika- lische Konzepte der Künstler*innen, die wiederum Anhaltspunkte für die musikalische Analyse bieten.
    [Show full text]
  • C 2010 Zuofu Cheng a NOVEL CONTINUOUS PITCH ELECTRONIC WIND INSTRUMENT CONTROLLER
    c 2010 Zuofu Cheng A NOVEL CONTINUOUS PITCH ELECTRONIC WIND INSTRUMENT CONTROLLER BY ZUOFU CHENG THESIS Submitted in partial fulllment of the requirements for the degree of Master of Science in Electrical and Computer Engineering in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Adviser: Lecturer Lippold Haken ABSTRACT 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 dierent parameters of the synthesis algorithm in real time, allowing for a high degree of expressiveness not possible with existing electronic wind instrument controllers. The rst part of the thesis will provide a justication 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. ii ACKNOWLEDGMENTS I am grateful to my thesis adviser, Dr. Lippold Haken for his tireless support in the conception, design, and production of this instrument and his expertise in computer music. I would like to extend my thanks to the Department of Electrical and Computer Engineering at the University of Illinois for providing me with the nancial support and scholarship that went into this work. I would like to thank Craig A.
    [Show full text]