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A Framework for Embedded Digital Musical Instruments

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A Framework for Embedded Digital Musical Instruments A Framework for Embedded Digital Musical Instruments Ivan Franco Music Technology Area Schulich School of Music McGill University Montreal, Canada A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. © 2019 Ivan Franco 2019/04/11 i Abstract Gestural controllers allow musicians to use computers as digital musical instruments (DMI). The body gestures of the performer are captured by sensors on the controller and sent as digital control data to a audio synthesis software. Until now DMIs have been largely dependent on the computing power of desktop and laptop computers but the most recent generations of single-board computers have enough processing power to satisfy the requirements of many DMIs. The advantage of those single-board computers over traditional computers is that they are much smaller in size. They can be easily embedded inside the body of the controller and used to create fully integrated and self-contained DMIs. This dissertation examines various applications of embedded computing technologies in DMIs. First we describe the history of DMIs and then expose some of the limitations associated with the use of general-purpose computers. Next we present a review on different technologies applicable to embedded DMIs and a state of the art of instruments and frameworks. Finally, we propose new technical and conceptual avenues, materialized through the Prynth framework, developed by the author and a team of collaborators during the course of this research. The Prynth framework allows instrument makers to have a solid starting point for the de- velopment of their own embedded DMIs. It is composed of several interoperating hardware and software components, publicly available as open-source technologies and continuously updated to include new features. Prynth has been lauded in both academic and artistic circles, resulting in an active and engaged user community. This community uses our framework to build many different DMIs that serve idiosyncratic goals and a panoply of musical contexts. The author himself is responsible for the design and construction of “The Mitt”, an instrument that was selected for the finals of the 2017 edition of the Guthman Musical Instrument Competition, the most prestigious event of its kind. We believe that embedded computing will play a fundamental role in the future of DMIs. By surpassing the reliance on traditional computers, embedded DMIs have the possibility of becoming integrated and robust interactive devices, with increased usability and performance. All of these represent key factors to the evolution and growth of these musical instruments. ii Résumé Les contrôleurs gestuels permettent aux musiciens d’utiliser les ordinateurs en tant qu’instruments numériques de musique (INM). Les mouvements corporels de l’artiste sont enregistrés par des capteurs sur le contrôleur, puis envoyés sous forme de données de contrôle numériques à un logiciel de synthèse audio. Jusqu’ici, les INM étaient largement dépendants de la puissance de calcul des ordinateurs portables et des unités centrales, mais les générations les plus récentes d’ordinateurs à carte unique disposent d’une puissance de calcul suffisante pour satisfaire aux exigences de nombreux INM. L’avantage de ces ordinateurs à carte unique sur les ordinateurs traditionnels réside dans leur taille qui s’avère bien moindre. Ils peuvent facilement être embarqués dans le corps du contrôleur et être utilisés pour créer des INM indépendants et totalement intégrés. Cette dissertation examine les diverses applications des systèmes d’informatique embarquée aux INM. Dans un premier lieu, nous ferons un rappel de l’histoire des INM, puis nous exposerons certaines des limites associées à l’utilisation d’ordinateurs génériques. Par la suite nous présen- terons une analyse des différentes technologies applicables aux INM embarqués et l’état de l’art des systèmes et instruments. Enfin, nous proposerons de nouvelles voies conceptuelles et techniques, matérialisées par le système Prynth, développé par l’auteur ainsi qu’une équipe de collaborateurs dans le cadre de cette recherche. Le système Prynth permet aux fabricants d’instruments de disposer d’une solide base de développement pour la création de leurs INM embarqués. Il est composé de nombreux éléments matériels et logiciels en interopération, de technologies disponibles en open-source et continuelle- ment mises à jour pour intégrer de nouvelles fonctionnalités. Prynth a été acclamé à la fois dans les cercles académiques et artistiques, avec pour conséquence une communauté très active et motivée. Cette communauté utilise notre système pour construire de nombreux INM qui ont un objectif idiosyncratique et une large panoplie de contextes musicaux. L’auteur lui-même est responsable de la conception et de la construction de l’instrument nommé « The Mitt » qui a été sélectionné pour la finale de l’édition 2017 de la Guthman Musical Instrument Competition, l’événement le plus prestigieux de sa catégorie au monde. Nous croyons que l’informatique embarquée jouera un rôle fondamental dans le futur des INM. En surpassant la dépendance aux ordinateurs classiques, les INM embarqués ont la possibilité de devenir des appareils interactifs solides et intégrés, disposant d’une utilisabilité et de performances améliorées. Tous ces critères représentant des éléments-clés de l’évolution et de la croissance de ces instruments de musique. iii Acknowledgments I would like to express my gratitude to the people and institutions that supported me during the course of this work. Thanks to my supervisor Marcelo Wanderley, for his precious knowledge, dedicated tutorship and wonderful enthusiasm. Thanks to all of my colleagues at the Input Devices and Music Interaction Laboratory (ID- MIL) and the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), especially those who have in some way contributed to this research: Ian Hattwick, John Sulli- van, Johnty Wang, Eduardo Meneses, Jerônimo Barbosa, Harish Venkatesan, Ajin Tom, Antoine Maiorca and Darryl Cameron. Thanks to all Prynth users who believed in this project and offered their valuable feedback and support. Finally I would like to thank my family for their love: my partner Lígia Teixeira, my newborn daughter Margot, my mother Isabel and my brother Rafael. This research was sponsored by the PhD program of the Fundação para a Ciência e Tecnologia (FCT), a public agency under responsibility of the Portuguese Ministry for Science, Technology and Higher Education. iv v Contents 1 Introduction 1 1.1 Motivation ......................................... 2 1.2 The Promises of Embedded DMIs ............................ 4 1.3 Contributions ....................................... 5 1.4 Collaborators ....................................... 7 1.5 Structure of the Thesis .................................. 7 2 Background 9 2.1 The Experimental Nature of Electronic Music ..................... 9 2.2 From Mainframes to Laptops .............................. 10 2.3 Idiosyncrasies of Computer Music ............................ 15 2.4 Performing with Computers ............................... 18 2.5 Causality, Ritualism and Expression .......................... 20 2.6 Haptic Interaction .................................... 22 2.7 Musical Controllers .................................... 23 2.8 Digital Musical Instruments ............................... 26 2.9 The Architecture of a DMI ............................... 27 2.10 Instrument Makers .................................... 29 2.11 Crafting a DMI ...................................... 30 2.12 Conclusions . ..................................... 32 3 Limitations of DMIs 33 3.1 A Culture of Musical Objects .............................. 33 3.2 Cognitive Activities .................................... 35 3.3 Immediacy ......................................... 36 3.4 Reliability ......................................... 37 3.5 Longevity ......................................... 40 vi Contents 3.6 Conclusions ........................................ 41 4 Embedded Digital Musical Instruments 43 4.1 A Definition of Embedded DMI ............................. 43 4.2 Base Technologies ..................................... 44 4.2.1 Microcontroller .................................. 45 4.2.2 Digital Signal Processor ............................. 46 4.2.3 Field-Programmable Gate Array ........................ 47 4.2.4 System-on-Chip . ............................... 50 4.2.5 Analysis ...................................... 51 4.3 State of the Art ...................................... 56 4.3.1 Early Examples .................................. 57 4.3.2 Products ..................................... 59 4.3.3 Frameworks .................................... 61 4.3.4 Analysis ...................................... 63 4.4 Conclusions ........................................ 69 5 Prynth: a Framework for Embedded DMIs 71 5.1 Motivation ......................................... 71 5.2 Requirements ....................................... 73 5.3 General Overview ..................................... 74 5.3.1 Hardware Overview ............................... 74 5.3.2 Software Overview . ............................. 76 5.4 Single-board Computer . ................................. 78 5.5 Audio ........................................... 80 5.6 Sensor Signal Acquisition ................................ 82 5.6.1 Control Board .................................. 83 5.6.2 Muxi Daughterboards .............................
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