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Monochord-Aerophone Robotic Instrument Ensemble Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, LA, USA, May 31-June 3, 2015 MARIE: Monochord-Aerophone Robotic Instrument Ensemble Troy Rogers Steven Kemper Scott Barton Expressive Machines Mason Gross School of the Arts Department of Humanities and Arts Musical Instruments Rutgers, The State University of New Worcester Polytechnic Institute Duluth, MN, USA Jersey Worcester, MA 01609 [email protected] New Brunswick, NJ, USA [email protected] [email protected] ABSTRACT MARIE, we employed the MEARIS paradigm to create an The Modular Electro-Acoustic Robotic Instrument System ensemble of versatile robotic musical instruments with maximal (MEARIS) represents a new type of hybrid electroacoustic- registral, timbral, and expressive ranges that are portable, electromechanical instrument model. Monochord-Aerophone reliable, and user-friendly for touring musicians. Robotic Instrument Ensemble (MARIE), the first realization of a MARIE was commissioned in 2010 by bassoonist Dana MEARIS, is a set of interconnected monochord and cylindrical Jessen and saxophonist Michael Straus of the Electro Acoustic Reed (EAR) Duo, and designed and built by Expressive aerophone robotic musical instruments created by Expressive 1 Machines Musical Instruments (EMMI). MARIE comprises one or Machines Musical instruments (EMMI) for a set of tours more matched pairs of Automatic Monochord Instruments (AMI) through the US and Europe. The first prototype of the and Cylindrical Aerophone Robotic Instruments (CARI). Each AMI instrument was created in early 2011 [5], and has since been and CARI is a self-contained, independently operable robotic field tested and refined through many performances with the instrument with an acoustic element, a control system that enables EAR Duo (Figure 1) and numerous other composers and automated manipulation of this element, and an audio system that performers. includes input and output transducers coupled to the acoustic element. Each AMI-CARI pair can also operate as an interconnected hybrid instrument, allowing for effects that have heretofore been the domain of physical modeling technologies, such as a "plucked air column" or "blown string." Since its creation, MARIE has toured widely, performed with dozens of human instrumentalists, and has been utilized by nine composers in the realization of more than twenty new musical works. Author Keywords musical robots, robotic musical instruments, plucked string instruments, aerophones, hybrid instruments ACM Classification H.5.5 [Information Interfaces and Presentation] Sound and Music Computing, H.5.1 [Information Interfaces and Presentation] Multimedia Information Systems. Figure 1. EAR Duo performs with MARIE at the Logos 1. INTRODUCTION Foundation in Ghent, Belgium. The Modular Electro-Acoustic Robotic Instrument System 2. RELATED WORK (MEARIS) represents a new type of hybrid electroacoustic- electromechanical instrument model in which individual The contemporary field of musical robotics spans a wide range of robotic musical instruments can function as tunable acoustic research and creative activities [6]. Within this diverse field, we can filters in an interconnected multi-module signal chain. distinguish between 1) emulative machines that help researchers Monochord-Aerophone Robotic Instrument Ensemble (MARIE), better understand and/or replicate human performers, and 2) inventive the first realization of a MEARIS, comprises one or more machines developed by composer-builders seeking new vehicles for matched pairs of Automatic Monochord Instruments (AMI) and musical expression. EMMI’s work is largely focused on this second Cylindrical Aerophone Robotic Instruments (CARI). In designing category. Numerous existing robotic instruments influenced MARIE’s design, including those created by Trimpin, Roland Olbeter, Eric Permission to make digital or hard copies of all or part of this work for personal Singer, and most significantly, Godfried-Willem Raes. In addition or classroom use is granted without fee provided that copies are not made or to musical robotics, MARIE is influenced by the parallel field distributed for profit or commercial advantage and that copies bear this notice of active control of acoustic musical instruments, as described and the full citation on the first page. To copy otherwise, to republish, to post on by Berdahl, Niemeyer, and Smith at CCRMA [1]. servers or to redistribute to lists, requires prior specific permission and/or a fee. NIME’15, May 31-June 3, 2015, Louisiana State University, Baton Rouge, LA. Copyright remains with the author(s). 1 www.expressivemachines.com 408 Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, LA, USA, May 31-June 3, 2015 AMI was conceived as an updated version of EMMI's first robotic string instrument, PAM (Poly-tangent Automatic multi-Monochord), which itself was influenced by LEMUR's GuitarBot [14], Trimpin's Jackbox [6], and Raes' <Hurdy> [11]. AMI’s updated features also draw upon ideas from Roland Olbeter's Fast Blue Air [10] and Raes' <Aeio> [7]. James McVay's MechBass [8] as well as Raes' <SynchroChord> and <Zi> [11] are notable robotic string instruments that have been created between the development of our initial prototype (early 2011) and the present. CARI builds upon a number of robotic aerophones that have previously been developed for both research and creative purposes. Instruments such as the WF-4RV flutist and WAS-1 saxophonist robots of Waseda University's Takanishi Lab [15, 16]; Roger Dannenberg's robotic bagpipe player McBlare [3]; and the robotic clarinet created by NICTA and UNSW's Music Acoustics Laboratory [13] have been inspired by human performance models and thus exemplify the emulative category described above. Though these instruments helped shape our approach, CARI is primarily influenced by the numerous inventive monophonic aerophones developed by Raes including <AutoSax>, <Korn>, and <Ob> [7]. Since the creation of the first CARI prototype in 2011, Raes has developed several other related aerophone instruments, including his automated clarinet <Klar> [11]. His electroacoustic organ <Hybr> [12] shares acoustic features with CARI as both are cylindrical air columns set into resonance by an audio-rate driver. 3. CONCEPTUAL ORIGINS OF MARIE: THE MEARIS PARADIGM Figure 2. Funtional diagram of a MEARIS, with acoustic 3.1 Inspiration element (center), control system (green), audio system The MEARIS concept was inspired by Raes' automated (blue), and visual elements (purple). monophonic aerophone instruments, which operate as 4. MARIE DESIGN automatically tunable acoustic filters. While the vast majority MARIE represents the first realization of a MEARIS. Each of of prior robotic instruments focus upon note actuation (i.e., act MARIE’s modules (each AMI and each CARI) contains a as impulse generators), the electromechanical control systems resonant acoustic element that can function as a filter and a of Raes’ aerophones alter the acoustic resonances, which shape control system with automated electromechanical actuators that the source sounds over time. With the MEARIS paradigm, we excite, tune, and dampen this acoustic element. Each module seek to expand upon this work in order to further explore the also features an audio system with input and output transducers expressive possibilities enabled by connecting robotic impulse and automated input and output matrices. and filtering “modules” in a variety of ways, as one would do with a modular synthesizer. 4.1 Instruments 3.2 Elements of a MEARIS 4.1.1 AMI Figure 2 displays the basic elements of a MEARIS module. At AMI is a robotic monochord instrument with automated the center of the module is an acoustic element: a resonant body mechanisms to articulate the string and alter its vibrating (vibrating string, air column, membrane, etc.) that is activated, length; an electromagnetic bowing mechanism (input modified, and sensed by the control and audio systems. The transducer); a pickup (output transducer); automated analog control system communicates via the MIDI protocol and drives mixing and effects circuitry; and programmable LED display. automated mechanisms that excite or alter the acoustic element. AMI’s acoustic element is an electric guitar string that is The audio system uses input transducers to force the acoustic manually tunable with a standard guitar tuning machine. element into resonance, and output transducers to capture the Produced sound is transduced by a flexible contact microphone vibrations of the resonant body. The audio system can also and sent to either an on-board or an external amplifier/speaker. include automated mixing circuitry and onboard analog or The frame is divided vertically into two equal halves, each of digital effects. Signals can be routed from one MEARIS which can house a single instance of AMI. Figure 3 diagrams module to another to create rich hybrid instrumental timbres. AMI’s acoustic, control, audio, and visual elements. To make the sound producing/altering gestures as visually salient as possible, instruments’ actions are amplified through cameras and projection, as well as through onboard lighting displays that illuminate form and action. 409 Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, LA, USA, May 31-June 3, 2015 positioned at fixed equal tempered half step intervals, giving a range of pitches from E2-A3. The tangents can be used
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