Principles For Designing Computer Music Controllers

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Principles for Designing Computer Music ControllersPerry CookDepartment of Computer Science (also Department of Music)35 Olden St. Princeton, NJ 08544 USA 1 609 258 4951prc@cs.princeton.eduABSTRACTThis paper will present observations on the design, artistic,and human factors of creating digital music controllers.Specific projects will be presented, and a set of designprinciples will be supported from those examples.KeywordsMusical control, artistic interfaces.INTRODUCTIONMusical performance with entirely new types of computerinstruments is now commonplace, as a result of theavailability of inexpensive computing hardware, of newsensors for measuring physical parameters such as forceand position, and of new software for real-time soundsynthesis and manipulation. Musical interfaces that weconstruct are influenced greatly by the type of music welike, the music we set out to make, the instruments wealready know how to play, and the artists we choose towork with, as well as the available sensors, computers,networks, etc. But the music we create and enable with ournew instruments can be even more greatly influenced byour initial design decisions and techniques.Through designing and constructing controllers over thelast 15 years, the author has developed some principles anda (loose) philosophy. These are not assumed to beuniversal, but are rather a set of opinions formed as part ofthe process of making many musical interfaces. Theyrelate to practical issues for the modern instrumentcraftsperson/hacker. Some relate to human factors, othersare technical. This paper will endeavor to bring thoseprinciples to light, through a set of examples of specificcontrollers and related art projects. To set the tone for therest of the paper, the principles will be listed here, and willbe highlighted in bold when they are reinforced by theexamples in the text.Some Technological Principles7) MIDI Miracle, Industry Designed, (In)adequate8) Batteries, Die (a command, not an observation)9) Wires are not that bad (compared to wireless)Some Other Principles10)11)12)13)New algorithms suggest new controllersNew controllers suggest new algorithmsExisting instruments suggest new controllersEveryday objects suggest amusing controllersWinds: Cook/Morrill Trumpet 1986-89HIRN 1991Constructed with Dexter Morrill of Colgate University, aspart of an NEA grant to create an interface for trumpeterWynton Marsalis, the Cook/Morrill trumpet controllerproject led to a number of new interface devices, softwaresystems [1][2], and musical works [3]. Sensors on thevalves, mouthpiece, and bell enabled fast and accuratepitch detection, and extended computer control for thetrumpet player. Trumpet players lie squarely in the “someplayers have spare bandwidth” category, so attaching afew extra switches and sliders around the valves provedvery successful. Figure 1 shows the interface window.Initially it was thought that a musically interesting schemewould be to allow the brass player to use the switches toenter played notes into loops, and later trigger those loops.This proved a miserable failure, because of the mentalconcentration needed to keep track of which loop waswhere, what the loop contents were, syncing the recording,triggering, etc. Eventually a set of simple, nearly statelessinteractions were devised. The switches were used totrigger pre-composed motifs, navigate forward andbackward through sections, and capture pitch informationfrom the horn, which was then used to seed fairlyautonomous compositional algorithms.Some Human/Artistic Principles1) Programmability is a curse2) Smart instruments are often not smart3) Copying an instrument is dumb,leveraging expert technique is smart4) Some players have spare bandwidth, some do not5) Make a piece, not an instrument or controller6) Instant music, subtlety laterFigure 1 Interface panel for the Cook/Morrill Trumpet

Another project, the HIRN wind controller, sensed rotationand translation in both hands, arm orientation, independentcontrol with each finger, breath pressure, and even muscletension in the lips [4]. Mappings from these controls to theparameters of the WhirlWind meta-wind-instrumentphysical model allowed exploration of new “spaces” ofacoustical processes, and the HIRN also was investigatedas a controller for FM and other synthesis techniques.Negative lessons from the HIRN project indicated thathuge control bandwidth is not necessarily a good thing, andthat attempting to build a “super instrument” with nospecific musical composition to directly drive theproject (principle 5) yields interesting research questions,but with no real product or future direction. One positivelesson from the project is that the co-design of synthesis/processing algorithms with controllers can benefit both.particle-type percussion and real-world sounds led to a setof new instruments, not only for control of shaker/scrapersounds and sound effects, but also for algorithmicinteractive music. For example, the Frog Maraca (Figure5) sends MIDI commands to control a simple algorithmicfusion jazz combo of bass, piano, and drums. The successwith both adults and children [10] of the Frog Maracacame from its simple interface (just shake it), the fun ofmaking fairly complicated music with such a simple andwhimsical looking device, and the fact that it onlyperformed one function (and always performed thatfunction when turned on). A related shaker percussioninstrument controller was a Tambourine that could alsocompose algorithmic modal marimba solos when shaken.Figure 2: The HIRN Meta-Wind ControllerVoice: SPASM 1988-94Research on physical modeling of the voice resulted in theconstruction of the SPASM/Singer voice synthesizer [5][6] (see Figures 3 and 4). The SPASM system was capableof real time synthesis, but had well over 40 continuouslycontrolled parameters. Work to improve the graphicalinterfaces and add control via MIDI fader boxes [7] provedthat the voice is a truly difficult “instrument” to control(principles 3 & 4). Recent work in real-time vocal modelcontrol will be discussed in the SqueezeVox Section.Figure 3 SPASMFigure 4 Few-to-Many MappingsPhISEM Shaker Percussion: 1996-1999The PhISEM (Physically Inspired Stochastic EventModeling) project [8][9] provided support for the “newalgorithms lead to new controllers lead to newalgorithms ” principles. This work on the synthesis ofFigure 5 PhISEM controllers.Constructing the PhISEM controllers provided richevidence that “Programmability is a curse,” and acorrelary: “Smart instruments are often not smart.”What these principles are meant to address is that theprogrammability of computer-based musical systems oftenmake them too easy to configure, redefine, remap, etc. Forprogrammers and composers, this provides an infinitelandscape for experimentation, creativity, writing papers,wasting time, and never actually completing any artprojects or compositions. For normal humans, being ableto pick up an instrument with a simple obvious interactionand “play it” only makes logical sense. That theinstrument is “learning from their play and modifying itsbehavior” often does not make any sense at all, and can befrustrating, paralyzing, or offensive. PhISEM controllershave a single embedded microcontroller, programmed forone or two functions (selectable by the state of a button onpower-up), and they put out standard General MIDIsignals. Except for the need to replace batteries (DieBatteries Die!!), these controllers have a strong possibilityof working perfectly as designed in 10 (perhaps 20) years.Those who craft complex systems using custom hardware,multiple computers, and multiple operating systems, canmake no such claims.Foot, Hand, Kitchen Wear/Ware 1997-2000Spurred by the success of the PhISEM controllers, thenotion of simple, MIDI based, fixed single functioncontrollers was continued, but based on objects that are not

specifically associated with music. Figure 6 shows theTapShoe, constructed at Interval Research as part of BobAdams’ Expressions Project. This shoe used force sensingresistors and accelerometers attached directly to a DSPboard running PhISEM shaker algorithms and a smallrhythmic loop. The algorithm generated a basic “groove”to which the wearer of the shoe could add accents anddynamics, in addition to their own tapping sounds. Thesuccess of the system came from giving the TapShoewearer that feeling that they were actually performing themusic, though the algorithmic loop would play a relativelyboring tapping sound even if the shoe sat unworn (“Instantmusic, subtlety later”).The Pico Glove (see Figure 7) was designed as a singlecomposition, called “Pico I for Seashells and InteractiveGlove” [11]. The idiomatic gesture of moving the hand inand out of the shells was enhanced by a tilt sensor in theglove. This was used to steer fractal note-generationalgorithms in real time, to accompany the blown shells.Figure 6 Digital TapshoeFigure 7 PicoGloveThe JavaMug (Figure 8) was designed for atranscontinental MIDI jam session held in 1997 b etweenTokyo and Columbia University [12]. Being one of theauthor’s favorite objects, the coffee mug fits comfortablyinto the hand, and pressure sensors beneath the fingers, atilt sensor, a pot and two buttons allow control of analgorithmic techno-latin band. The principle of “Instantmusic, subtlety later” is dominant in this instrument.Simply picking up the JavaMug and squeezing it yieldsattractive and (fairly) deterministic music, becausealgorithmic randomness is increased by decreasingpressure on the sensors. After playing the instrument for awhile, neophytes grow to more expert levels by realizingthat the music gets more varied and interesting if theyexperiment with the relative pressures and tilts. Note thatthis is also an example of the “Smart instruments areoften not smart” principle, in that the instrument doesn’tchange at all, but rather trains the user to use more gentleand subtle manipulations of the sensors. Other kitchenrelated interfaces include the “Fillup Glass,” which playsminimalist music loops (via MIDI) controlled by sensorsin a water glass, and “P-Ray’s Café: Table 1” which allowsthe control of a melodic percussion group by movement ofcommon table-top items (sugar, salt shaker, etc) over thesurface of a small table. These objects showed that“Everyday objects suggest amusing controllers.”Figure 8 P-Ray’s Café, with Fillup Glass and Java MugViolins/Strings: BoSSA, the Nukelele1998-99Stringed instruments have a rich historical musicaltradition. They also have a rich tradition of electronicinterfaces, both commercially and experimentally withmany electrified, MIDI, and pure digital violins andguitars. Work with Dan Trueman at Princeton Universitybegan with a sensor-enhanced violin bow called the“RBow,” and the NBody project which worked to studyand model the directional radiation properties of stringedinstruments[13]. Dan continued and expanded this work,yielding BoSSA (The Bowed Sensor, Speaker Array,Figure 9) [14]. Lessons learned and reinforced by theBoSSA project include “Existing instruments suggestnew controllers”, and “Copying an instrument is dumb,leveraging expert technique is smart.” Other principlesreinforced are “Some players have spare bandwidth,some do not,” (violin players generally have their handscompletely occupied, so a successful interface must exploitinteresting remappings of existing gestures), and “Wiresare not that bad (compared to wireless)” (the BoSSA isplayed sitting by a player who often plays electric violin, sothe increased complexity of wireless was not justified).The Nukelele (thanks to Michael Brooke for the name) wasconstructed in Bob Adams’ Interval Research Expressionsproject. While collaborating on other Expressions projectssuch as “the Stick” and the “ Porkophone,” the Nukelelewas a personal experiment to design, implement, and test anew controller as rapidly as possible. The Nukelele wasintended to match the expressiveness of a true stringedinstrument, by using audio directly from a sensor to drive aplucked string physical model. Two sandwiched linearforce sensing resistors under the right hand served toprovide pluck/strike position information, along with theaudio excitation for the string model.Figure 9 BoSSAFigure 10, the Nukelele

The Voice (again): SqueezeVox2000REFERENCESThe SqueezeVox project [15] with Colby Leider ofPrinceton has revisited the difficult issue of devising asuitable controller for models of the human voice.Breathing, pitch, and articulation of vowels and consonantsmust be controlled in a vocal model, so the accordion wasselected as a natural interface (principle 10). Pitch via thekeyboard, vibrato aftertouch, and a linear strip for finepitch and vibrato are controlled with the right hand.Breathing is controlled by the bellows, and the left handcontrols vowels and consonants via buttons (presets), orcontinuous controllers such as a touch pad, plungers, orsqueeze interface.1. Morrill, D., and Cook, P.R,. "Hardware, Software, andCompositional Tools for a Real-Time Improvised SoloTrumpet Work," Proceedings of the InternationalComputer Music Conference, (ICMC), 1989.2. Cook, P.R,, Morrill, E., and Smith, J.O., "A MIDIControl and Performance System for BrassInstruments," Proc. ICMC, 1993.3. Morrill, D., “Works for Saxophone,” Centaur RecordsCRC 2214, 1994.4. Cook, P.R, "A Meta-Wind-Instrument Physical Model,and a Meta-Controller for Real Time PerformanceControl," Proc ICMC, 1992.5. Cook, P.R, "Identification of Control Parameters in anArticulatory Vocal Tract Model, With Applications tothe Synthesis of Singing," Electrical Engineering PhDDissertation, Stanford University, 1991.Figure 11 Squeezevox Lisaand BartFUTURE WORK and CONCLUSIONSWork and development continues on the SqueezeVoxproject, with a self-contained version (Santa’s LittleHelper, with onboard DSP synthesis), and a smallconcertina version (Maggie) currently under construction.Work also continues on the kitchen/common objectsproject, and given the variety of such objects, much richinterface and music design lies ahead.Musical interface construction proceeds as more art thanscience, and possibly this is the only way that it can bedone. Yet many of the design principles put forth in thispaper have held true in multiple projects, and many havebeen verified in talking with other digital instrumentdesigners. Some of the technological issues might goaway, but not completely or not necessarily very quickly.Many of the human/artistic issues are likely to be with usas long as musical instruments have been.DEMONSTRATIONSDuring the workshop, the PhISEM controllers, theJavaMug, the TapShoe, the Nukelele, and the SqueezeVoxwill be demonstrated. Soundfiles, large pictures, and videoclips of the instruments discussed in this paper areavailable at: http://www.cs.princeton.edu/ prc/CHI01.htmlACKNOWLEDGEMENTSSpecific thanks to Dexter Morrill, Dan Trueman, BobAdams, and Colby Leider. General thanks to all those atCCRMA, Princeton, and Interval Research for wonderfulcollaborations. This work was funded by CCRMA and theCCRMA Industrial Affiliates Program, Interval Research,Intel, and the Arial Foundation.6. Cook, P.R, "SPASM: a Real-Time Vocal Tract PhysicalModel Editor/Controller and Singer: the CompanionSoftware Synthesis System," Computer Music Journal,17: 1, pp 30-44, 1992.7. Cook, P.R, "New Control Strategies for the SingerArticulatory Voice Synthesis System," StockholmMusic Acoustics Conference, 1993.8. Cook, P.R, "Physically Informed Sonic Modeling(PhISM): Percussive Synthesis," Proc ICM, 1996.9. Cook, P.R, "Physically Informed Sonic Modeling(PhISM): Synthesis of Percussive Sounds," ComputerMusic Journal, 21:3, 1997.10. Agora98: European Children’s Television Workshop,Cyprus, Greece, 1998.11. Cook, P.R, "Pico I", for Seashells and InteractiveElectronics, International Mathematica Symposium,Rovaniemi, Finland, 1997.12. Goto, M. “Internet RemoteGIG”, Concert #3USA/JapanIntercollegiateComputerMusicConference, 1997.13. Cook, P.R and Trueman, D., "Spherical Radiation fromStringed Instruments: Measured, Modeled, andReproduced," Journal of the Catgut Acoustical Society,1999.14. Trueman, D. and Cook, P.R,, "BoSSA: TheDeconstructed Violin Reconstructed," InternationalComputer Music Conference, Beijing, October, 1999.revised for Journal of New Music Research, Fall, 2000.15. Cook, P.R and Leider, C., "SqueezeVox: A NewController for Vocal Synthesis Models," Proc. ICMC,2000.

Principles for Designing Computer Music Controllers Perry Cook Department of Computer Science (also Department of Music) 35 Olden St. Princeton, NJ 08544 USA 1 609 258 4951 prc@cs.princeton.edu ABSTRACT This paper will present observations on the design, artistic, and human factors of creating digital music controllers.Cited by: 265Publish Year: 2001

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