International Conference on Computational Creativity, 2015 [28] Linux Governance. Retrieved from: Designing a Digital Gamelan http://p2pfoundation.net/Linux_-_Governance Adrien L’ Honoré Naber [14] M. Pearce, D.Meredith, and G. Wiggins, “Motiva- Designer DIGIGAM tions and methodologies for automation of the composi- [29] E. S. Raymond, The Cathedral & the Bazaar: Mus- [email protected] tional process”, Musicæ Scientiæ, vol. 6, no. 2, pp. 119– ings on linux and open source by an accidental revolu- 147, 2002. tionary, O'Reilly Media, Inc, 2001.

[15] C. Ariza, “An Open Design for Computer-Aided [30] D. Ehls, C. Herstatt, “Open Source Participation ABSTRACT Algorithmic Music Composition: athenaCL”, Ph.D. the- Behavior-A Review and Introduction of a Participation sis, New York University, 2005. Lifecycle Model”, In 35th DRUID Celebration Confer- DIGIGAM is being developed as a digital instrument to Apart from a couple of string instruments and flutes, ence, 2013. explore the possibilities of a digitalized gamelan. This gamelan is based on melodic percussive instruments [1]. [16] C. Herstatt and D. Ehls, Open Source Innovation: project emerged from a common interest in both tradi- For that reason, electronic DIY kits were a good The Phenomenon, Participant's Behaviour, Business Im- [31] G. Von Krogh, S. Haefliger, S. Spaeth, and M. W. tional and modern art forms and the wish to develop a starting point for our research. plications (Routledge Studies in Innovation, Organization Wallin, Carrots and rainbows: Motivation and social midi controller based on instruments in Javanese and and Technology), 2015. practice in open source software development, MIS quar- Sundanese gamelan ensembles. 1.2 Partners terly, vol. 36, no. 2, pp. 649-676, 2012.

[17] J. Faludi, “Open innovation in the performing arts. The goal is to design a controller based on Indonesian LeineRoebana is known from shows like ‘Ghost Track, Examples from contemporary dance and theatre produc- [32] Y. Li, C. H. Tan, and H. H. Teo, “Leadership char- instruments with the “” as a starting point. This Snow in June, Smell of Bliss and others’. For the show tion”, Corvinus journal of sociology and social policy, acteristics and developers‟ motivation in open source is the most versatile instrument in the ensemble and also ‘Ghost Track’ LeineRobana collaborated with Indonesian vol. 6, no. 1, pp. 47-70, 2015 software development”, Information & Management, vol. the most challenging to design. Gunawan [1.3] uses nine composer Iwan Gunawan. Gunawan is from Bandung, 49, no. 5, pp. 257-267, 2012. different articulations to get a variation of sounds from Indonesia and is the composer of ‘Ghost Track’ and con- [18] A. Barbosa, "Displaced soundscapes: A survey of this instrument. These articulations will have to be trans- ductor of Ensemble Kyai Fatahilla. Gunawan is always network systems for music and sonic art creation." Leo- [33] A. Blekh, “Governance and organizational sponsor- lated without affecting the style of playing this instrument searching for ways of combining gamelan with other nardo Music Journal, vol. 13, pp. 53-59, (2003): ship as success factors in free/libre and open source soft- too much. Although we want to simulate the original forms of music and technology. Alexander Dijk is a de- ware development: An empirical investigation using playing style, we would also like to add options that are veloper of tactile controllers and graduated in developing [19] G. Weinberg, "Interconnected musical networks: structural equation modeling. Doctoral dissertation”. No- relevant in digital music and controllers. a first prototype of a gamelan controller. I am a composer Toward a theoretical framework." Computer Music Jour- va Southeastern University. Retrieved from NSUWorks, / producer and have been going to Indonesia since 2008. I nal, vol. 29, no. 2, 2005, pp. 23-39. Graduate School of Computer and Information Sciences. We compare available technology and search for transla- have spent one and a half year there travelling, and re- http://nsuworks.nova.edu/gscis_etd/40. 2015. tions. How can you make optimal use of the available [20] M. Akkermann, “Computer Network Music Approx- searching Indonesian music, language and culture. I have imation to a far-scattered history”, Proceedings of the technology and how can you integrate this in the playing built up a new network of artists and collected a lot of [34] Large Hadron Collider Visual Music Machine. style? The design of the controller is based on modules so Electroacoustic Music Studies Network Conference - Available at: https://github.com/Opensemble/lhcvmm/ field recordings that I use for my own compositions. Electroacoustic Music Beyond Performance, Berlin, different elements can be changed or added for future Gunawan and me met in 2013 when I was doing an in- 2014. [35] The Large Hadron Collider. Available at: adaptations of this controller. ternship in Indonesia. http://home.cern/topics/large-hadron-collider 1. INTRODUCTION OF PARTNERS AND This was the starting point of our musical relation. I was [21] M. Ayers, Cybersounds: Essays on virtual music [36] About the ATLAS Experiment. Available at: searching for musicians and music to record and Gun- culture, Peter Lang, 2006. http://atlas.cern/discover/about STARTING POINT awan was searching for someone who wanted to create a [22] W. Duckworth, Virtual music: How the Web got [37] D. Smalley, “Spectro-morphology and Structuring 1.1 Introduction sound library of a gamelan set. Gunawan came to the wired for sound. Routledge, 2005. Processes”, EMMERSON, S. The Language of Electroa- Netherlands some months later to perform the show coustic Music London, Macmillan Press Ltd, 1986, pp. Is the sky local? In this case they sky is not local. The ‘Ghost Track’ with LeineRoebana. While playing ‘Ghost [23] A. Hugill, "Internet music: An introduction.", Con- 61-93. Netherlands and Indonesia are far apart but share a long Track’, ideas for an digital gamelan came in mind and history together. This project is about crossing Harijono Roebana of LeineRoebana and Gunawan con- temporary Music Review, vol. 24, no. 6, 2005, pp. 429- [38] M. Blackburn, "Composing from spectromorpholog- more than geopolitical borders is about collaboration be- tacted the faculty of Music Technology in Hilversum. 437. ical vocabulary: proposed application, pedagogy and tween different cultures and disciplines, and we are con- Gerard van Wolferen and Hans Timmermans had the metadata" , Novars Research Centre, The University of stantly working on translations. Trying to create under- opportunity to borrow the gamelan set from Jurien [24] S. Jordà, M. Alonso, and Grup de Tecnología Musi- Manchester. standing for something different is the key element in our Slichter from Ensemble Gending. This was the point cal. "MÚSICA E INTERNET, CREACIÓN, INTER- Retrieved from : http://www.ems- project. We combine each other's knowledge to make a where Alexander Dijk joined the team and the start of the CAMBIO Y EDUCACIÓN", 2006. network.org/ems09/papers/blackburn.pdf controller based on gamelan and love to learn from each DIGIGAM project. [25] S. Gresham-Lancaster, “Computer Network Music”, other’s differences in search for a center where all aspects Arts, humanities and complex networks. Sci 2013. Re- [39] M. Paasivaara, S. Durasiewicz and C. Lassenius. are equally important. We may remain local but we learn 1.3 Iwan Gunawan trieved from: "Using scrum in distributed agile development: A multi- more when we search for unknown things. We did re- http://ahcncompanion.info/abstract/computer-network- ple case study." Global Software Engineering, 2009. search on different controllers and interfaces in order to Gunawan is a composer from Bandung, West-Java, Indo- music. ICGSE 2009. Fourth IEEE International Conference on find out what would be most usable for simulating game- nesia. He grew up with Sundanese gamelan surrounding 13 Jul. 2009: 195-204. lan. him. He is a music teacher at Universitas Pendidikan In- [26] S. Gresham-Lancaster, “Computer Music Network”, donesia in Bandung. This is also the homebase of his Copyright: © 2016 Adrien L’ Honoré Naber et al. This is an open-access Leonardo, vol. 47, no.3, pp. 266-267, 2014. [40] K. Crowston, K. Wei, J. Howison and A. Wiggins, ensemble Kyia Fatahilla and the place where I have met article dis- tributed under the terms of the Creative Commons Attribution “Free/Libre open-source software development: What we him for the first time. Gunawan differs from other game- License 3.0 Unported, which permits unrestricted use, distribution, and [27] S. Knotts, “Changing Music‟s Constitution: Network know and what we do not know”, ACM Computing Sur- lan composers in Indonesia. He is always searching for reproduction in any medium, provided the original author and source are Music and Radical Democratization”, Leonardo Music veys (CSUR), vol. 44, no. 2, pp. 7, 2012. new opportunities to involve gamelan into other modern credited. Journal, vol. 25, pp. 47-52, 2015. art forms and digital cultures. His wish was to make a

190 Proceedings of the International Computer Music Conference 2016 Proceedings of the International Computer Music Conference 2016 191 sound library of a gamelan that could be used as a tool for disciplines is something that inspired us all individually ron’s, 4 bonang’s and 16 kenong’s, a total of 1261 sam- Making our own controller was an essential process in composing his music. Though some libraries are already and finally led us to initiate our research together. ples in three velocities. Then this many samples needed designing this instrument. However, it felt like we were available from SonicCouture and Sample Logic, these are to be very organized, so structure in the library is vital. I ‘re-inventing the wheel’. These prototypes reacted like based on Balinese gamelan and western music and are to 3. REASON FOR A DIGITAL GAMELAN have categorized this in: tuning > instrument > instrument we wanted, but the system became more complex while be interpreted in a different way. type. our goal was efficiency. These realizations made us look 3.1 Design criteria: back at available technologies and we started testing with 1.4 My ambition for this project 4.2 Hardware: a Yamaha electronic . These test worked out well - Maintain the style that the instrument is played in, as for Gunawan and we decided to continue our research in Both my grandparents and parents were intrigued by In- much as possible; During the recording process we made an observational modifying existing drum controllers. donesia. Pictures and pieces of art were found all around - Better transportability. A gamelan set is heavy and dif- research on the different methods of playing on the game- the house I grew up in. My parents regularly had people ficult to transport and not always available. The DI- lan instruments. We registered the different instruments The bonang uses a maximum of nine different articula- visiting from across the globe, also from Indonesia. As a GIGAM must be easy to transport; and articulations on video as a point of reference. There tions on a maximum of fourteen kettles. The challenge child this was my first contact with the country and initi- - Plug & play, only connect to a computer with the right have been regular contact and testing sessions, trough was here how to design a controller were you can play ated my interests in exotic adventures. In my teenage software. trial and error we made different designs and tested dif- these samples within reach. For this we chose the Roland years I got into electronic music, especially Triphop, Jun- - Intergrade digital effects and controls to extend the ferent technologies. We have compared the playing PD 8 dual trigger pad. The PD-8 includes two sensors a gle, Drum & Bass and Dub music. When I became older I playing style in a way that the instrument will be useful methods used in gamelan with other digital instruments piezo and a switch. Each trigger pad is equipped with a was looking for ways to combine my passion for travel for composition and improvisation; and available controllers like the ‘Gamelan Elektrika’. FSR pressure sensor to register damping. We solved the and music. I wanted to go to the High school of Arts - Tasteful design. Because this instrument will become Most similar to the gamelan were the length of the notes with a long sample being played, the Utrecht to study Music Technology, but I needed a good part of a show we have to keep in mind the design of the kits, especially the snare . These round triggers are FSR controls the sustain and release of the sample. When plan to get allowed in. I decided to travel to Indonesia for show. a comparable size and can function like a gamelan, if it is pressed, the sustain and release close, thus making four months (what turned into a year) and record sounds, modified. the sound shorter. We equipped the controller with addi- music, and learn from the culture. Upon arrival in Indo- 3.2 Extended sounds tional capacitive sensors in order to connect movement to nesia I immediately understood why my parents and Alexander Dijk wrote a supportive narrative about ‘Digi- audio effects so that the player can influence the color of grandparents loved this county. This was the point in my Gunawan uses a lot of new techniques to extend the play tal Gamelan’. There he explored the possibilities of de- the sound. The sensors are connected with UTP cables to life where I had decided I want to dedicate my carreer to style of gamelan instruments. He also combines the signing gamelan controllers. He did different experiments the Arduino, these cables are easily connected, making it music. Ever Since I traveled through Indonesia, the coun- slendro and pelog system in his compositions. Gunawan and ended up with a prototype for the gender, saron and easy to build up the instrument. try and its culture became a big part of my life, this makes use of every surface of the instruments and mal- selentem. (Figure 1) His study involved making a con- shaped my goals, my music and myself until this day. lets. During our recording in the anechoic room we made troller that mimics the behavior of these instruments. He a video documentation of all the different articulations researched the behavior of the original instrument and 2. WHAT IS GAMELAN? being made. This information we use as a reference to compared this to available technologies and sensors. The organize the sample player and the controllers design. end result was a playable controller note where you have Gamelan are ensembles. They are found throughout different options for triggering sounds. In a later stage China and South-East Asia but, the main focus of this Articulations on instruments: this selected technology was implemented in a prototype project is based on Sundanese and Javanese ensembles. - Long design of the ‘bonang’ (Figure 2). These Indonesian gong ensembles are called ‘gamelan’. - Short Gam-e-lan means ‘to hammer’ in Indonesian language - Short 2 (different damping) [1] and comes from the hammer shaped mallets the - Very short gamelan is played with. The ensemble consists of - Very short 2 (different damping) and kettles in various sizes forged with precious metals like bronze, copper and gold. These instruments are tuned Extended articulations: in two main tuning systems ‘slendro’ and ‘pelog’, alt- - Using the side of the bonang’s and gongs FX 1 & 2 (Figure 3). hough different tuning systems do exist. Slendro is penta- - Using the end of the stick or mallet to hit and damp the tonic, pelog is diatonic. The gamelan sets are made in bonang’s and gongs FX 3 We based the instrument on modules that are connected various villages across Indonesia and vary slightly in tun- - Rubbing the bonang’s with their fingers in order to get to a ‘brain’ (Figure 3). For this, a couple of translations ing. This is the characteristic that a village can give to the the pan singing FX 4 were to be made. The drum triggers have a stereo jack gamelan set, their fingerprint. These villages usually tune - And the musicians use their mouth as a modulator for output and were routed through two DDRUM DDTI their gamelan sets to one main gong called the ‘Gong the bonang and gender FX 5 (Figure 1) Trigger interfaces. We discovered that midi is fastest Ageng’. This knowledge of forging gamelan sets is being when the information is sent by USB. With the DDRUM passed over from generation to generation. Therefore, a DDTI the data of the drum triggers are converted inside wide variation in gamelan remains. 4. DESIGNING THE SYSTEM and sent out by USB. With this we can keep the system efficient, saving CPU power. Arduino processes the data 2.1 Understanding gamelan 4.1 Recording of the FSR and Proximity sensors; this data is then trans- mitted trough UTP cables. This connects to the computer In the design of the physical controller we have to keep in The recording of the gamelan set in 2013 was the first system trough USB as well. With our philosophy of cre- mind certain aesthetics. Gamelan is music that was step in creation of a digital gamelan. We had the oppor- ating an instrument in modules, we created a system that played in Courts and accompanies the Dance Theater [1]. tunity to record the gamelan set in an anechoic room. We is very adaptable and adjustable for different situations The epic Hindu stories of Ramayana and Mahabharata have recorded with 3 microphones (AKG C-414, AKG and can function for more than only a digital gamelan are good examples. Music, dance and theater are usually C-451 and a DPA 4090) Recording in an anechoic room controller. intertwined with each other. You cannot think about one gave a lot of fine surprises and the sound quality of the samples turned out to be a treat to compose with. We without the other. This synergy between the different (Figure 2) 4.3 Software: have recorded 18 gong’s, 2 gender’s, 2 selentem’s, 6 sa-

193 Proceedings of the International Computer Music Conference 2016 Proceedings of the International Computer Music Conference 2016 194 sound library of a gamelan that could be used as a tool for disciplines is something that inspired us all individually ron’s, 4 bonang’s and 16 kenong’s, a total of 1261 sam- Making our own controller was an essential process in composing his music. Though some libraries are already and finally led us to initiate our research together. ples in three velocities. Then this many samples needed designing this instrument. However, it felt like we were available from SonicCouture and Sample Logic, these are to be very organized, so structure in the library is vital. I ‘re-inventing the wheel’. These prototypes reacted like based on Balinese gamelan and western music and are to 3. REASON FOR A DIGITAL GAMELAN have categorized this in: tuning > instrument > instrument we wanted, but the system became more complex while be interpreted in a different way. type. our goal was efficiency. These realizations made us look 3.1 Design criteria: back at available technologies and we started testing with 1.4 My ambition for this project 4.2 Hardware: a Yamaha electronic drum kit. These test worked out well - Maintain the style that the instrument is played in, as for Gunawan and we decided to continue our research in Both my grandparents and parents were intrigued by In- much as possible; During the recording process we made an observational modifying existing drum controllers. donesia. Pictures and pieces of art were found all around - Better transportability. A gamelan set is heavy and dif- research on the different methods of playing on the game- the house I grew up in. My parents regularly had people ficult to transport and not always available. The DI- lan instruments. We registered the different instruments The bonang uses a maximum of nine different articula- visiting from across the globe, also from Indonesia. As a GIGAM must be easy to transport; and articulations on video as a point of reference. There tions on a maximum of fourteen kettles. The challenge child this was my first contact with the country and initi- - Plug & play, only connect to a computer with the right have been regular contact and testing sessions, trough was here how to design a controller were you can play ated my interests in exotic adventures. In my teenage software. trial and error we made different designs and tested dif- these samples within reach. For this we chose the Roland years I got into electronic music, especially Triphop, Jun- - Intergrade digital effects and controls to extend the ferent technologies. We have compared the playing PD 8 dual trigger pad. The PD-8 includes two sensors a gle, Drum & Bass and Dub music. When I became older I playing style in a way that the instrument will be useful methods used in gamelan with other digital instruments piezo and a switch. Each trigger pad is equipped with a was looking for ways to combine my passion for travel for composition and improvisation; and available controllers like the ‘Gamelan Elektrika’. FSR pressure sensor to register damping. We solved the and music. I wanted to go to the High school of Arts - Tasteful design. Because this instrument will become Most similar to the gamelan were the electronic drum length of the notes with a long sample being played, the Utrecht to study Music Technology, but I needed a good part of a show we have to keep in mind the design of the kits, especially the snare drums. These round triggers are FSR controls the sustain and release of the sample. When plan to get allowed in. I decided to travel to Indonesia for show. a comparable size and can function like a gamelan, if it is pressed, the sustain and release close, thus making four months (what turned into a year) and record sounds, modified. the sound shorter. We equipped the controller with addi- music, and learn from the culture. Upon arrival in Indo- 3.2 Extended sounds tional capacitive sensors in order to connect movement to nesia I immediately understood why my parents and Alexander Dijk wrote a supportive narrative about ‘Digi- audio effects so that the player can influence the color of grandparents loved this county. This was the point in my Gunawan uses a lot of new techniques to extend the play tal Gamelan’. There he explored the possibilities of de- the sound. The sensors are connected with UTP cables to life where I had decided I want to dedicate my carreer to style of gamelan instruments. He also combines the signing gamelan controllers. He did different experiments the Arduino, these cables are easily connected, making it music. Ever Since I traveled through Indonesia, the coun- slendro and pelog system in his compositions. Gunawan and ended up with a prototype for the gender, saron and easy to build up the instrument. try and its culture became a big part of my life, this makes use of every surface of the instruments and mal- selentem. (Figure 1) His study involved making a con- shaped my goals, my music and myself until this day. lets. During our recording in the anechoic room we made troller that mimics the behavior of these instruments. He a video documentation of all the different articulations researched the behavior of the original instrument and 2. WHAT IS GAMELAN? being made. This information we use as a reference to compared this to available technologies and sensors. The organize the sample player and the controllers design. end result was a playable controller note where you have Gamelan are gong ensembles. They are found throughout different options for triggering sounds. In a later stage China and South-East Asia but, the main focus of this Articulations on instruments: this selected technology was implemented in a prototype project is based on Sundanese and Javanese ensembles. - Long design of the ‘bonang’ (Figure 2). These Indonesian gong ensembles are called ‘gamelan’. - Short Gam-e-lan means ‘to hammer’ in Indonesian language - Short 2 (different damping) [1] and comes from the hammer shaped mallets the - Very short gamelan is played with. The ensemble consists of gongs - Very short 2 (different damping) and kettles in various sizes forged with precious metals like bronze, copper and gold. These instruments are tuned Extended articulations: in two main tuning systems ‘slendro’ and ‘pelog’, alt- - Using the side of the bonang’s and gongs FX 1 & 2 (Figure 3). hough different tuning systems do exist. Slendro is penta- - Using the end of the stick or mallet to hit and damp the tonic, pelog is diatonic. The gamelan sets are made in bonang’s and gongs FX 3 We based the instrument on modules that are connected various villages across Indonesia and vary slightly in tun- - Rubbing the bonang’s with their fingers in order to get to a ‘brain’ (Figure 3). For this, a couple of translations ing. This is the characteristic that a village can give to the the pan singing FX 4 were to be made. The drum triggers have a stereo jack gamelan set, their fingerprint. These villages usually tune - And the musicians use their mouth as a modulator for output and were routed through two DDRUM DDTI their gamelan sets to one main gong called the ‘Gong the bonang and gender FX 5 (Figure 1) Trigger interfaces. We discovered that midi is fastest Ageng’. This knowledge of forging gamelan sets is being when the information is sent by USB. With the DDRUM passed over from generation to generation. Therefore, a DDTI the data of the drum triggers are converted inside wide variation in gamelan remains. 4. DESIGNING THE SYSTEM and sent out by USB. With this we can keep the system efficient, saving CPU power. Arduino processes the data 2.1 Understanding gamelan 4.1 Recording of the FSR and Proximity sensors; this data is then trans- mitted trough UTP cables. This connects to the computer In the design of the physical controller we have to keep in The recording of the gamelan set in 2013 was the first system trough USB as well. With our philosophy of cre- mind certain aesthetics. Gamelan is music that was step in creation of a digital gamelan. We had the oppor- ating an instrument in modules, we created a system that played in Courts and accompanies the Dance Theater [1]. tunity to record the gamelan set in an anechoic room. We is very adaptable and adjustable for different situations The epic Hindu stories of Ramayana and Mahabharata have recorded with 3 microphones (AKG C-414, AKG and can function for more than only a digital gamelan are good examples. Music, dance and theater are usually C-451 and a DPA 4090) Recording in an anechoic room controller. intertwined with each other. You cannot think about one gave a lot of fine surprises and the sound quality of the samples turned out to be a treat to compose with. We without the other. This synergy between the different (Figure 2) 4.3 Software: have recorded 18 gong’s, 2 gender’s, 2 selentem’s, 6 sa-

192 Proceedings of the International Computer Music Conference 2016 Proceedings of the International Computer Music Conference 2016 193 With many digital samplers available we decided to ture. We puzzled and brainstormed for a period of two choose KONTAKT for composing, because of its wide years and made a lot of adaptations to the instrument and Wavefolding: Modulation of Adjustable Symmetry in options of modifying your digital instrument. Both Gun- music system. This is an ongoing process and to create Sawtooth and Triangular Waveforms awan and me were familiar with this sampler and wanted this instrument we need to communicate a lot in order to to learn more about the software. The scripting editor get understanding for each other. This mentality is vital in allows you to create most things you can imagine. To this cooperation between different cultures. To expand Dr Edward Kelly translate the gamelan set into a MIDI keys, I programmed our mind, I think we have to venture into the unknown. University of the Arts London the notes closest to the actual notes being played. (Figure Here we can discover new possibilities that life has to Camberwell College of Arts 4) offer outside of our comfort zone. I think we should cre- Peckham Road ate more understanding for other people and the things London SE5 8UF we do not know yet. United Kingdom [email protected] The beauty of living nowadays is the technology, with a ABSTRACT frequency modulation (sine-wave modulation) of the laptop I can take my work everywhere. This allows me to waveform results in complex timbre transformations over work outside my home where I receive different impulses The Pulse-Width Modulation (PWM) technique has been time, highly dependent on phase ratios between carrier that inspire me. I tend to search for opinions that are dif- used to generate varying timbres of odd-harmonic spec- and modulator, and a temporal morphology that reflects ferent than mine. It fascinates me how much you can tra from early on in voltage controlled analog synthesis the characteristic shape of the sawtooth wave itself. (Figure 4) learn from people that do not share your world vision. history. Methods for controlling the symmetry of a trian- Slendro 5 is the same tune as pelog 4 and slendro 6 is the This is the main reason I like to working with multicul- gle-to-sawtooth wave have also been devised. This paper 2. THE WAVEFOLDER~ OBJECT same tune as pelog 6. Gunawan uses these notes to switch tural groups. Therefore, as an answer to the question ‘Is discusses a family of objects and techniques for piece- between the different tuning systems. the sky local?’: No, not to me wise waveform manipulation that may be modulated at audio rate, comparing the results with analog equiva- For composing, you want the note you play on your key- 6. CONCLUSIONS lents, and looking specifically at the implications of mod- board to be the actual key. For this reason, we have cho- ulator phase and subtle deviations from integer carri- sen to use the actual notes and keep it structured with one Like Lego, this instrument has the option to grow in vari- er-to-modulator ratios, and fine deviations from these, on tuning in one octave. KONTAKT has the option to use ous shapes and sizes. We can implement different tech- adjustable-symmetry sawtooth waves. Figure 1. The wavefolder~ object generates variable asymme- multiple instruments within one sampler and control them nologies and experiments in realms first unknown to the try sawtooth/triangle waves from a phasor~ (ramp) input. with different midi tracks, within the DAW you use. This gamelan society. We combine our knowledge to develop 1. INTRODUCTION enables the composer to combine sets of instruments in an instrument that can be included in ensembles but also The implementation of an algorithm for converting a the different tuning systems to their liking. serves as a solo instrument. This vision however makes The sawtooth or ramp wave is a fundamental element in ramp wave into a triangle wave or inverse ramp is rela- that almost everything will be possible. In this we have to subtractive synthesis, since it contains both odd and even tively simple. This was initially accomplished as a Pure 1 For performing however we analyze the data coming cut back and search for solutions that are relative and harmonics of the fundamental frequency. It's slightly dull Data[1] (Pd) patch using the sigpack~ library of objects . from the DIGIGAM controller we have to sort out how to functional to gamelan and digital controllers. cousin, the triangle wave, has weak overtones of odd har- More recently this has been created as an external for Pd, control the different articulations and instruments. For monics and sounds much like a digital approximation of a along with the wavestretcher~ object. This has simplified this we wrote a MAX patch, this patch has 2 times 7 Although this is an ongoing project, we do have a clear sine wave. Both have their uses in synthesis, but it is pos- the process of converting a ramp from a phasor~ object switches connected to the rim switches. This enables the view on what needs to happen and how we can achieve sible in both analog and digital domains to generate into an adjustable-symmetry waveform, and opened-up user to switch between different articulations and instru- this as a team. We have collected a lot of information waveforms that can be modulated between sawtooth and the possibility of audio frequency modulation of the ments. The upper row pads 1 to 7 control different in- concerning technology, Indonesian music and culture. triangle. Some digital synthesis methods have used this waveform symmetry. struments by activating the channels in Ableton. The Music Technology is slowly developing in Indonesia, principle particularly since the transformation from a The principle is simple. With a ramp waveform from 0 lower row pads control the articulations by pressing the Alexander Dijk and me share our knowledge about tech- sawtooth wave into a triangle wave creates a reduction in to 1, a threshold is set between 0 and 1. Sample-by-sam- rim this enables different MIDI pitch shifters that act like nology with Gunawan and Kyai Fatahilla. We have had harmonic richness similar (but not the same as) subtrac- ple the output is given by: keyswitches. Another patch translates the values of the days when we designed systems together with Gunawan tive filters. Historically, Casio's ill-fated VZ series of syn- O=IF(R>T;R(1/T);1-((R-T)*(1/(1-T)) (1) FSR sensors to data that controls the “sustain and re- and tested the updates. thesizers in the 1980s used a method called IPD or Inter- where O = out sample, R = ramp input and T = threshold. lease” in Ableton. active Phase Distortion, based on the transformation of Divide-by-zero errors are eliminated in a separate func- Gunawan and Kyai Fatahilla are the end users in this and waveforms through progressively sharper sawtooth tion that prevents R from arriving at precisely 0 or 1. This In Ableton I have sorted the notes in separate samplers, we have to customize the design to their logic. A playable shapes. Software glitches with the interface along with object can be found in the ekext library of Pd externals2. because we need the FSR data to damp separate notes. version of the DIGIGAM controller will be made for bad commercial timing (the Korg M1 released at the This is an “instrument rack” for group modifications and them in addition to an original gamelan set and will be same time, which also had a sequencer and drums) led to 3. SPECTRAL CHARACTERISTICS effects, within this is another “instrument rack” with a finished by May 2016 for the LeineRoebana show the withdrawal of Casio from the pro-audio market. maximum of fourteen samplers inside to control the “sus- “Light”. Gunawan and his ensemble need to understand With computer synthesis it is a simple procedure to 3.1 Frequency spectra at static symmetry settings tain and release” of the single notes. The pitch en- how the instrument works. Therefore communication and create an algorithm that generates adjustable symmetry veloppes and pitchbends are connected to Proximity sen- involving them in creative processes remains essential. sawtooth-to-triangle waves that may be modulated at As the waveform is modulated between a setting of 0 sor 2 so it can be controlled by waving your hand over audio frequencies. Empirical research into harmonic (symmetric triangle waveform) and 1 (asymmetric ramp the sensor and modifying the sound. Proximity sensor 2 is Acknowledgments: spectra of such modulations reveals a slightly more waveform), peaks and troughs in the harmonic spectrum connected to sendbus A in Ableton to control an effect. LeineRoebana, Iwan Gunawan, Kyai Fatahilla and Alex- complex morphology of spectra than would be devised are developed (see figures 1-4). This was empirically An additional Korg Nano controller is added to control a ander Dijk formed an essential part in the realization, this using subtractive methods, and the application of single tested in order to establish the relationship between the project isn’t possible without them. looper function. Copyright: © 2016 First author et al. This is an open-access article symmetry of the waveform and the resultant harmonic distributed under the terms of the Creative Commons Reference: spectrum, in order to establish how the functional de- 5. IS THE SKY LOCAL? Attribution License 3.0 Unported, which 1 [1] Henry Spiller -Focus; Gamelan Muisc of Indonesia permits unrestricted use, distribution, and reproduction in any medium, https://puredata.info/downloads/sigpack The strength of this project lays in our differences and provided the original author and source are credited. 2 (second edition, 2008) Latest versions can be downloaded from getting understanding for each other’s discipline and cul- http://sharktracks.co.uk/html/software.html

195 Proceedings of the International Computer Music Conference 2016 Proceedings of the International Computer Music Conference 2016 196