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Advancing the Art of Electronic Percussion by Adam Tindale B.Mus

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Advancing the Art of Electronic Percussion by Adam Tindale B.Mus Advancing the Art of Electronic Percussion by Adam Tindale B.Mus., Queen’s University, 2001 M.A., McGill University, 2004 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in Interdisciplinary Studies (Music, Computer Science, and Electrical Engineering) © Adam Tindale, 2009 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-66850-4 Our file Notre référence ISBN: 978-0-494-66850-4 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author’s permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n’y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. ii Advancing the Art of Electronic Percussion by Adam Tindale B.Mus., Queen’s University, 2001 M.A., McGill University, 2004 Supervisory Committee Dr. George Tzanetakis, Co-Supervisor (Department of Computer Science, Music, and Electrical Engineering) Dr. Peter F. Driessen, Co-Supervisor (Department of Electrical Engineering and Music) Dr. W. Andrew Schloss, Co-Supervisor (Department of Music and Computer Science) Dr. Steve Gibson, Outside Member (Department of Visual Arts) iii Abstract The goal of this project is to create a new instrument: the E-Drumset. This new interface addresses the lack of expressivity in current electronic percussion devices. The project combines Electrical Engineering for implementing hardware and digital signal processing, Computer Science for implementing musical and mapping soft- ware, and Music to devise new playing techniques and ways to combine them into a pedagogy and language of transmission. Like an acoustic drumset, the E-Drumset consists of different components that can be arranged together as a whole. An acoustic drumset can be thought of as a collection of pedals, drums and cymbals. The E-Drumset consists of the E-Pedal, E-Drum and E-Cymbal. The technology utilized in the E-Drumset includes sensor technologies with newly developed technologies such as acoustically excited physi- cal models and timbre-recognition based instruments. These new technologies are discussed and applied to situations beyond the E-Drumset. Just building a new controller is not enough. It needs to be thoroughly tested in musical situations and to take into account feedback from musicians (both the player and other members of the ensemble) during the evaluation of the instrument. Clear and attainable technical guidelines have not been devised for the E-Drumset. In the case of the radiodrum, a spatial controller, improvements can be summarized to be better resolution in space and time. In the case of the E-Drumset the goal is to offer a flexible interface to percussionists where electronic drums are often the bottleneck in bandwidth. There is no clear answer to questions such as how low the latency needs to be to satisfy a drummer; an issue that will be explored through the project. The goals of the project are to provide the percussionist with an interface that they may sit down and use existing skills. Utilizing the great variety of gesture available to the expert, the E-Drumset allows the percussionist to explore all manners of controllers between acoustic instruments and electronic. To provide a smoother transition to the E-Drumset, notation and exercises for E-Drumset specific gestures iv and techniques was devised. The E-Drumset is a new instrument. Most new interfaces are derived to help lesser players achieve virtuosic ends, while other projects make a controller that is massively configurable where a more static instrument is appropriate. This project provides insight into the theory and practice of new musical interfaces while deliver- ing novel forms of synthesis and gesture recognition appropriate for the E-Drumset. v TABLE OF CONTENTS Supervisory Committee ii Abstract iii Table of Contents v List of Tables ix List of Figures x Acknowledgements xiv Dedication xv Forward xvi 1 Introduction 1 1.1 Motivation . 1 1.2 Design of New Controller . 2 1.3 Background . 2 1.4 Breadth of Gesture . 3 1.5 Project Goals . 4 1.6 Main Contributions . 6 1.7 Supporting Activities . 8 TABLE OF CONTENTS vi 2 History of Electronic Percussion 10 2.1 Introduction . 10 2.2 1850 - 1960 . 11 2.3 1960 - 1980 . 16 2.4 1980-2000 . 24 2.5 2000 - Present . 38 2.6 Summary . 45 3 Background 47 3.1 Introduction . 47 3.2 Timbre Recognition . 48 3.3 Physics . 56 3.4 Percussion Sensor Technology Overview . 60 3.5 Design Evaluation . 65 3.6 Summary . 69 4 The E-Drumset 71 4.1 Introduction . 71 4.2 Design Criteria . 71 4.3 E-Drum . 72 4.4 E-Pedal . 74 4.5 E-Cymbal . 75 4.6 A Note about Latency . 76 4.7 Dynamic Range . 77 4.8 Personal Setup . 78 4.9 Modifying Algorithms . 80 4.10 Synthesis . 80 4.11 Conclusion . 88 5 Experimental Results 91 5.1 Introduction . 91 TABLE OF CONTENTS vii 5.2 Qualitative Evaluation . 91 5.3 Surrogate Sensors for Detecting Drum Strike Position . 93 5.4 Summary . 102 6 Supporting Activities 103 6.1 Introduction . 103 6.2 Demos . 103 6.3 Performance Ensembles . 104 6.4 Software Applications . 108 6.5 Summary . 124 7 Towards Mastery 127 7.1 Introduction . 127 7.2 Exercises . 129 7.3 Conclusion . 133 8 Discussion 134 8.1 Introduction . 134 8.2 Task Division . 135 8.3 Open Source . 135 8.4 Change is good . 136 8.5 Simple . 136 8.6 Future Work . 137 Bibliography 139 Appendix A - Media Assets 159 Appendix B - Glossary 160 Appendix C - Discography 163 TABLE OF CONTENTS viii Appendix D - Breadth of Gesture 166 D.1 Introduction . 166 D.2 Standard Stick Techniques . 166 D.3 Standard Hihat Techniques . 170 D.4 Standard Bass Drum Techniques . 171 D.5 Extended Techniques . 171 D.6 Temporal Techniques . 173 Appendix E - Signal Processing and Machine Learning Techniques 175 E.1 Preprocessing . 177 E.2 Feature Extraction . 178 E.3 Classification . 182 ix LIST OF TABLES 5.1 A comparison of the E-Drumset with current models. 92 5.2 Statistics on Radiodrum Accuracy with 100 hits at each location. 96 5.3 Percentages of correctly classified drum pad hits (center, halfway, or edge). 99 5.4 Percentages of correctly classified snare drum hits . 99 5.5 Radiodrum regression from with 1057 instances moving from center to edge. 100 5.6 Classification results to differentiate right and left sticks. 101 6.1 Accuracy of Radial Position classification. 116 x LIST OF FIGURES 1.1 The range of instruments from acoustic to electronic. 3 2.1 The Chamberlin Rhythmate. 12 2.2 The Wurlitzer Sideman. 13 2.3 Control panel for the Wurlitzer Sideman. 13 2.4 Moog 1130 Drum controller . 17 2.5 Boss Dr. Drum. 18 2.6 (a)Original Syndrum. (b) Syndrum 2 with outboard synthesizer and foot controller. 18 2.7 Wolfgang Fl¨urusing his electronic drumpads with Kraftwerk. 23 2.8 Kraftwerk playing smaller instruments. Fl¨urcan be seen playing the small devices like a cowbell (2nd from right). 23 2.9 The Roland TR-808. 25 2.10 The Roland TR-909. 25 2.11 A view of the Simmons SDX pads, controller, and acoustic instruments integrated. 27 2.12 Simmons SDX brain. 27 2.13 Andrew Schloss performing on the Radiodrum. 29 2.14 Alternate Mode Drumkat Turbo. 30 2.15 Alternate Mode Drumkat Turbo panel view. 31 LIST OF FIGURES xi 2.16 The Korg Wavedrum with rim attachment. 32 2.17 Futureman with his custom made Drumitar. 34 2.18 Tina Blaine with D’uckoo. 35 2.19 D’uckoo with the MidiBall. ..
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