Augmented guitar; a study of extended guitar design and methods. Brian Tuohy This annotated bibliography presents some of the sources of information studied when performing research on the augmented guitar. The research concentrates on answering questions about the guitar as an instrument for augmentation which include, amongst others; • Why has electric guitar been such a popular instrument for augmentation? • What are the properties that make it a good choice for extended design? • What has been the most popular direction for augmentation? • What evidence is there that the augmentations have given improved playability? • Do these augmentations address a natural issue that musicians have with the guitar or are they aspiring to simply create different possibilities? For the purposes of this study, the topic has been broken into several sections. Firstly, the integration of existing interfaces to extend the possibilities of the guitarist’s control of audio data. This section has subsequently been broken into four sections addressing The Wiimote, The iPhone, us of the guitar in computer game control and other interfaces such as the Monome or Kaoss Pad. The second section deals with electronic modifications where artists have used micro-controllers and other wiring augmentations to afford the guitarist more control over their sound. In the third section, sources are presented that deal with the area of prepared guitars as a method of augmentation. The fourth section consists of studies that have been conducted relating to the history and evolution of the electric guitar as a system that welcomes augmentation. The final section is a series of informal notes that have been made thus-far in the study which concern issues of authority integrity, source validity and the location of information that needs to be studied in forming an opinion on the subject. Where an abstract is not applicable, an attempt has been made to include a brief background of the author and/ or their work. In some cases, such as video sources, information on the author is limited and may even mean a lack of the author’s real name. In these cases, the screen name of the author is substituted in the reference. Integration with existing interfaces e.g. Wii, iPhone, etc. Wii N. Bouillot, M. Wozniewski, Z. Settel, and J.R. Cooperstock, “A mobile wireless augmented guitar,” International Conference on New Interfaces for Musical Expression, Genova, Italy, 2008. pp 189 - 192 Abstract: “We present the design of a mobile augmented guitar based on traditional playing, combined with gesture- based continuous control of audio processing. Remote sound processing is enabled through our dynamically reconfigurable low-latency high-fidelity audio streaming protocol, running on a mobile wearable platform. Initial results demonstrate the ability to stream the audio and sensor data over IEEE 802.11 to a server, which then processes this data and out- puts the resulting sound, all within a sufficiently low delay as required for mobile multimodal performance.” In this paper, the authors present several strong arguments supporting the use of instrument augmentation as a means for musicians to exploit gestural interaction in order to gain extra control over their sound. We are presented with the possibilities of using a WIFI network to transmit both audio and OSC data from a wiimote to facilitate the implementation a wireless, gesture – based control system for guitarists. Crucially, the authors address the issue of latency and offer a solution in the form of a low-latency audio streaming protocol. It could be argued that this paper is a good starting point for researchers with an interest in investigating augmented guitar systems as it presents a concise overview of the advantages in using augmented designs, while also assessing and proposing methods for manipulating modern devices, such as the wiimote, for integration into the system. N. Bouillot, M. Wozniewski, Z. Settel, and J.R. Cooperstock, (2010, October 10) Mobile Wii Augmented Guitar (McGill Shared Reality Lab). [Online]. Available: http://www.youtube.com/watch?v=9GBdfuzqGaI Abstract: See Above In this demonstration, the performer conveys the ideas expressed by the authors in their NIME paper. The wireless attributes of the system are evident and the video allows for a critical assessment of the success of the latency-reduction measures. A multi-instrument like interaction is presented. When analysed in tandem with the conference paper, this video presents a great advantage in assessing both the technical and aesthetic aspects of the project, allowing for a greater perception of overall effectiveness. A. Jones. (2010, October 10) Inventing The Future. [Online]. Available: http://thephoenix.com/boston/life/82943-inventing-the-future/ Abstract: N/A Author Details: This article was written by Abigail Jones for the Boston Phoenix, an American paper that emphasizes local arts and entertainment coverage as well as lifestyle and political coverage from a liberal perspective. In this article, the author presents a thorough review of the work of Rob Morris, a Master’s student at the M.I.T. Media Lab. The article concentrates mainly on Morris’ use of a guitar-mounted wiimote as a method of controlling parameters of effects pedals. Included in the article are an interview with the developer and a video of the device being used as part of a live performance. Similar to the wii-augmented example listed above, this system implements wireless control of audio parameters via gestural interaction. This article could arguably be seen as a testament to the coverage that these kinds of augmentation projects are receiving in mainstream media and possibly to the success and acceptance of the technology. B. Alfano. (2010, October 10) Wiimote Guitar Effects Tutorial. [Online]. Available: http://www.jedineon.com/guitar_rig.php Abstract: N/A Author Details: Bruno Alfano is a computer and electronics student at the Faculty of Aerospace Engineering, University Federico II of Naples. Alfano provides a short web-tutorial, which goes into more detail concerning the programming aspects of wiimote integration for control of guitar effects. The on-screen annotations provide helpful background information as to the mapping of functionality. However, even with the inclusion of a demonstrative video, it is difficult not to question the integrity of the source. This page clarifies some aspects of the coding process but the video does not propose a positive argument for the accentuation of the technology to improve playability. J. A. Romero. (2010, October 10) Guitar + Gamepad & Wii Remote # SuperCollider . [Online]. Available: http://www.youtube.com/watch?v=383DmSJtVic&feature=related Abstract: N/A Author Details: Juan A. Romero is a musician (guitarist) working predominantly in electronic music, live coding, and new technology. This video demonstrates a project that utilizes a wiimote and several extra buttons that have been built into a guitar in order to interact with a program written in SuperCollider. Again, annotations are provided to convey the main functions of the technology, however, no technical information is available to backup the processes that are taking place. This leads us to conclude that this source can only be used in an informal sense, as a demonstration of the technology in use and cannot justifiably be attributed any intellectual significance. D. Smith. (2010, October 10) Guitar Sense Project. [Online]. Available: http://www.youtube.com/watch?v=b5nwnmH9GFA Abstract: N/A Author Details: None Available Here, we can see another demonstration, which can be assessed in a similar fashion to the preceding example. We are presented with a video of a guitarist who uses a wiimote attached to the headstock of his guitar to interact with Max MSP. The control of the program depends on the data received from the accelerometer and the buttons in the wiimote. The Max MSP patch is shown in the video but again we receive no information regarding the processes of the software or the design approach taken. In addition, this author has no links to any external background information so we are left unaware of his sources or any validity to his methods. Marcelovid. (2010, October 10) MacBook Pro + Wiimote + Guitar. [Online]. Available: http://www.youtube.com/watch?v=1ahiP8uFaqA&feature=related Abstract: N/A Author Details: None Available Almost identical to the previous source, this video demonstrates without the inclusion of written explanation or background information; direct mapping of accelerometer data from a guitar-mounted wiimote to effects parameters in a software application. In this case, the user is controlling the Hi-Pass Filter, Decay Time and Feedback level of a Flanger effect in Ableton Live. This is a simple use of data mapping which seems to have been explored in many of the projects involving the wiimote. iPod Touch/ iPhone P. Kirn. (2010, October 9) Create Digital Music - Guitar Adds IPod Touch Controls, Plays Ableton, Lovely Ambient Music. [Online]. Available: http://createdigitalmusic.com/2008/12/23/guitar-adds-ipod-touch- controls-plays-ableton-lovely-ambient-music/ 2008 Abstract: N/A Author Details Peter Kirn is a composer/musician, media artist, educator, and technology writer, and the creator and editor of Create Digital Music. He’s the author of Real World Digital Audio from Peachpit Press, a comprehensive book on producing music with computers and digital technology. He also writes for Macworld, Make, Keyboard, and Computer Music magazines. Kirn, in this article, provides background information on guitarist Brian William Green’s use of two guitar- mounted iPod touches to create generative music with Brian Eno’s Bloom application running on one device and the other device being used to control Ableton Live. The author reiterates the point made by Bouillot, Wozniewski (et all) in the first source of this bibliography in noting that “smart devices can extend the performance possibilities of a traditional instrument, in a way a rig of effects pedals and stomp- boxes – no matter how sophisticated – never could”.