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Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet

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Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in which each key is a Water Jet Steve Mann, Ryan Janzen, Mark Post University of Toronto, Dept. of Electrical and Computer Engineering, Toronto, Ontario, Canada For more information, see http://funtain.ca ABSTRACT General Terms We present a musical keyboard that is not only velocity- Measurement, Performance, Design, Experimentation, Hu- sensitive, but in fact responds to absement (presement), dis- man Factors, Theory placement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of Keywords displacement). Fluid-user-interface, tangible user interface, direct user in- Moreover, unlike a piano keyboard in which the keys reach terface, water-based immersive multimedia, FUNtain, hy- a point of maximal displacement, our keys are essentially draulophone, pneumatophone, underwater musical instru- infinite in length, and thus never reach an end to their key ment, harmelodica, harmelotron (harmellotron), duringtouch, travel. Our infinite length keys are achieved by using water haptic surface, hydraulic-action, tracker-action jet streams that continue to flow past the fingers of a per- son playing the instrument. The instrument takes the form 1. INTRODUCTION: VELOCITY SENSING of a pipe with a row of holes, in which water flows out of KEYBOARDS each hole, while a user is invited to play the instrument by High quality music keyboards are typically velocity-sensing, interfering with the flow of water coming out of the holes. i.e. the notes sound louder when the keys are hit faster. The instrument resembles a large flute, but, unlike a flute, Velocity-sensing is ideal for instruments like the piano, there is no complicated fingering pattern. Instead, each hole or the celeste, because the tones of the instrument decay (each water jet) corresponds to one note (as with a piano or after they are struck. Whether one is playing on a real pipe organ). Therefore, unlike a flute, chords can be played acoustic piano which is velocity sensitive, or one is playing by blocking more than one water jet hole at the same time. on a velocity sensing electronic keyboard that synthesizes Because each note corresponds to only one hole, different or otherwise emulates a real acoustic piano, velocity sensing fingers of the musician can be inserted into, onto, around, works well as a way of initiating a tone to begin at an initially or near several of the instrument’s many water jet holes, in selected sound level and to then die out over time. a variety of different ways, resulting in an ability to inde- Other instruments, like the organ, have lingering tones pendently control the way in which each note in a chord that need not decay, but instead can sound for as long as a sounds. key is held down. Real acoustic pipe organs and electronic Thus the hydraulophone combines the intricate embouchure organs, tend to have keyboards that are not velocity sensing. control of woodwind instruments with the polyphony of key- Moreover, with organs, notes often turn on and off in a board instruments. binary fashion, rather than by degrees as with a piano. How- Various forms of our instrument include totally acoustic, ever, some modern electronic organs, especially high quality totally electronic, as well as hybrid instruments that are synthesizers that have organ settings, sometimes have key- acoustic but also include an interface to a multimedia com- boards which are velocity-sensing. This means that when puter to produce a mixture of sounds that are produced you press the key faster a note sounds louder and when you by the acoustic properties of water screeching through orific press the key down more slowly the note sounds quieter. plates, as well as synthesized sounds. Since organs can produce lingering tones, if a musician is holding a note for several seconds, he or she is unfortunately Categories and Subject Descriptors stuck with the note volume that was established by the ini- H.5.2 [User Interfaces]; H.5.5 [Sound and Music Com- tial velocity that the key was hit with. Therefore, although puting]; J.5 [Computer Applications]: ARTS AND HU- the velocity sensing keyboard allows an increase in musical MANITIES—Fine arts expression, it would be nice if there was an ability to con- tinuously update the musical expression of each individual note, or at least vary the sound level of the note, while the Permission to make digital or hard copies of all or part of this work for note continues to sound. personal or classroom use is granted without fee provided that copies are Although some organs provide expression pedals, such as not made or distributed for profit or commercial advantage and that copies a volume pedal, these pedals affect more than one note at bear this notice and the full citation on the first page. To copy otherwise, to the same time, and do not allow individual notes to be con- republish, to post on servers or to redistribute to lists, requires prior specific tinuously updated in volume while they are sounding. Elec- permission and/or a fee. MM’06, October 23–27, 2006, Santa Barbara, California, USA. tronic keyboards with channel aftertouch also provide a sin- Copyright 2006 ACM 1-59593-447-2/06/0010 ...$5.00. gle global modification across all the notes being played. 519 USER control. Conversely, what we desire is the ability to have MODIFIED continuous independent expressive control of each note in a PIANO MOUNTED musical chord (or of each note in any other group of simul- ON ITS COUNTER− SIDE taneously sounded notes). WEIGHT However, the idea of an endless “key” is certainly possible. If you rub your finger around the rim of a wine glass (or the end of a verrophone) the note can continue to sound for as long as you keep your finger moving around the rim. Since the glass is circular you never reach the end of the sounding path. Thus the tone can linger for as long as you keep ROTATEABLE PLATFORM WITH HOLE CUTOUT IN CENTER moving. Moreover, you can continuously put expression into the sound. But it is very difficult to play complex chords on Figure 1: The “PIANOrgan”, a make-believe instrument that combines the expressivity of a piano with the organ’s ability a set of wine glasses, or on the glass pipes of a verrophone. to sustain notes for as long as desired: Imagine a piano that had infinite key travel. Perhaps this could be achieved by keys traveling 1.1 A keyboard-like instrument with in a cylindrical (endless) path, using a “treadmill” platform. As the continuously flowing keys platform rotates around the user, the keys of the specially modified Playing a set of wine glasses (or a verrophone which con- piano could be pressed down continuously deeper and deeper with- out ever reaching bottom. The piano would have to be modified so sists of glass pipes open at both ends) you have to keep your that the notes would continue to ring out for as long as the keys fingers moving around in a circle. Benjamin Franklin ob- were pressed. Ideally, perhaps this might create a very “fluid” and served that all we need is relative motion between the finger continuous musical experience. Obviously it may be impractical or impossible to achieve this situation. and the glass, so in 1761 he invented a new instrument that he called the armonica or “glass harmonica”. Franklin’s ar- It would be nice to be able to individually (independently) monica consisted of a spinning metal shaft, upon which were control the volume of each note in a chord continuously, over mounted, concentrically, the tops of variously sized wine time. Some electronic keyboards, such as the Roland A50, glasses, or other glass disklike objects similar to the tops of implemented polyphonic aftertouch, but only with limited wine glasses. success. In fact, presently, no keyboards with polyphonic af- To play the instrument you simply pressed wet fingers tertouch are being manufactured any more. The only kind of against the moving glass “keys”. One could play up to ten aftertouch that exists on currently manufactured keyboards, notes at once, by pressing one finger against each disk. The channel aftertouch, once again acts globally across all notes instrument produces a celestial bell-like sound, but the glass being played. bells can be made to ring continuously, for as long as the mu- Moreover, when polyphonic aftertouch did exist, it in- sician continues to press on them. Moreover, the musician volved the initial creation of a note, followed by updates has total control of the sound envelope, and can, for exam- to its expression. Rather than construct a note at a certain ple, create tones that grow, decay a little, and grow some initial keypress velocity, and then attempt to later modify more, etc., rather than merely the decaying tones of a piano. it, it would be nice to be able to continuously adjust the This fine control over musical expression can be done indi- expression of each note in a flowingly fluid way. We use the vidually for each note in a complex musical chord, greatly term “duringtouch” to refer to this ability to continuously increasing the virtuosity of the instrument. update one or more attributes of a note at all times before, Thus very rich and full chords could be played with vir- during, and after it is sounding. tuoso complexity. If a velocity-sensing keyboard could be made in such a The armonica had a celestial softness that was simultane- way that it had infinite key travel (i.e.
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