The Experts below are selected from a list of 360 Experts worldwide ranked by ideXlab platform
Julius O Smith - One of the best experts on this subject based on the ideXlab platform.
-
feedback control of acoustic Musical Instruments collocated control using physical analogs
Journal of the Acoustical Society of America, 2012Co-Authors: Edgar Berdahl, Julius O Smith, Gunter NiemeyerAbstract:Traditionally, the average professional musician has owned numerous acoustic Musical Instruments, many of them having distinctive acoustic qualities. However, a modern musician could prefer to have a single Musical instrument whose acoustics are programmable by feedback control, where acoustic variables are estimated from sensor measurements in real time and then fed back in order to influence the controlled variables. In this paper, theory is presented that describes stable feedback control of an acoustic Musical instrument. The presentation should be accessible to members of the Musical acoustics community who may have limited or no experience with feedback control. First, the only control strategy guaranteed to be stable subject to any Musical instrument mobility is described: the sensors and actuators must be collocated, and the controller must emulate a physical analog system. Next, the most fundamental feedback controllers and the corresponding physical analog systems are presented. The effects that these controllers have on acoustic Musical Instruments are described. Finally, practical design challenges are discussed. A proof explains why changing the resonance frequency of a Musical resonance requires much more control power than changing the decay time of the resonance.
-
introduction to the special issue on virtual analog audio effects and Musical Instruments
IEEE Transactions on Audio Speech and Language Processing, 2010Co-Authors: Vesa Valimaki, Julius O Smith, Federico Fontana, Udo ZolzerAbstract:The 16 papers in this special issue focus on virtual audio effects and Musical Instruments.
-
using haptic devices to interface directly with digital waveguide based Musical Instruments
New Interfaces for Musical Expression, 2009Co-Authors: Edgar Berdahl, Gunter Niemeyer, Julius O SmithAbstract:A haptic Musical instrument is an electronic Musical instrument that provides the musician not only with audio feedback but also with force feedback. By programming feedback controllers to emulate the laws of physics, many haptic Musical Instruments have been previously designed that mimic real acoustic Musical Instruments. The controller programs have been implemented using finite difference and (approximate) hybrid digital waveguide models. We present a novel method for constructing haptic Musical Instruments in which a haptic device is directly interfaced with a conventional digital waveguide model by way of a junction element, improving the quality of the musician’s interaction with the virtual instrument. We introduce both the explicit digital waveguide control junction and the implicit digital waveguide control junction.
-
hsp a simple and effective open source platform for implementing haptic Musical Instruments
New Interfaces for Musical Expression, 2009Co-Authors: Edgar Berdahl, Gunter Niemeyer, Julius O SmithAbstract:When we asked a colleague of ours why people do not make more haptic Musical Instruments, he replied that he thought they were “too hard to program and too expensive.” We decided to solve these perceived problems by introducing HSP, a simple platform for implementing haptic Musical Instruments. HSP obviates the need for employing low-level embedded control software because the haptic device is controlled directly from within the Pure Data (Pd) software running on a general purpose computer. Positions can be read from the haptic device, and forces can be written to the device using messages in Pd. Various additional objects have been created to facilitate rapid prototyping of useful haptic Musical Instruments in Pd. HSP operates under Linux, OS X, and Windows and supports the mass-produced Falcon haptic device from NovInt, which can currently be obtained for as little as US$150. All of the above make HSP an especially excellent choice for pedagogical environments where multiple workstations are required and example programs should be complete yet simple.
-
Applications of bioacoustics in physical modeling and the creation of new Musical Instruments
2008Co-Authors: Tamara Smyth, Julius O SmithAbstract:The similarities between biological and Musical acoustic systems has lead to the idea that bioacoustics, and understanding of animal sound production, could provide models for new Musical Instruments. Physical modeling synthesis of these systems offers the musician the ability to manipulate natural sound, much in the same way s/he would a traditional Musical instrument. In this research, the sound mechanism of the cicada is modeled and the Musical potential of it’s vocalization is explored. The cicada instrument is programmed in C++ and runs in real-time. A glove, equipped with force sensing resistors (FSRs) on each of the fingertips, allows for control of parameters such as the volume of the cicada’s abdomen, and the stiffness of its tymbal plate
Petros Maragos - One of the best experts on this subject based on the ideXlab platform.
-
an environment for gestural interaction with 3d virtual Musical Instruments as an educational tool
European Signal Processing Conference, 2019Co-Authors: Christos Garoufis, Athanasia Zlatintsi, Kosmas Kritsis, Panagiotis Paraskevas Filntisis, Vassilis Katsouros, Petros MaragosAbstract:This paper presents a finalized version of an environment intended for performance and gestural interaction with three-dimensional virtual Musical Instruments, developed as a part of a larger educational platform, the iMuSciCA workbench. The environment can employ either a Leap Motion or a Kinect sensor, and enables interaction with a variety of virtual Musical Instruments, namely virtual interpretations of a bichord, a xylophone, a drumming set, a guitar and an upright bass, by means of performing and recognizing hand gestures similar to the ones needed to play their physical counterparts. In order to showcase the usability of the platform in an educational context and measure its effectiveness, we designed a scenario, where the user tries to keep a steady rhythm while drumming. A usability study of the above scenario, involving 22 users, demonstrates that the audiovisual feedback can actually provide assistance to the user.
-
Musical Instruments signal analysis and recognition using fractal features
European Signal Processing Conference, 2011Co-Authors: Athanasia Zlatintsi, Petros MaragosAbstract:Analyzing the structure of music signals at multiple time scales is of importance both for modeling music signals and their automatic computer-based recognition. In this paper we propose the multi-scale fractal dimension profile as a descriptor useful to quantify the multiscale complexity of the music waveform. We have experimentally found that this descriptor can discriminate several aspects among different music Instruments. We compare the descriptiveness of our features against that of Mel frequency cepstral coefficients (MFCCs) using both static and dynamic classifiers, such as Gaussian mixture models (GMMs) and hidden Markov models (HMMs). The methods and features proposed in this paper are promising for music signal analysis and of direct applicability in large-scale music classification tasks.
Vesa Valimaki - One of the best experts on this subject based on the ideXlab platform.
-
introduction to the special issue on virtual analog audio effects and Musical Instruments
IEEE Transactions on Audio Speech and Language Processing, 2010Co-Authors: Vesa Valimaki, Julius O Smith, Federico Fontana, Udo ZolzerAbstract:The 16 papers in this special issue focus on virtual audio effects and Musical Instruments.
-
discrete time modelling of Musical Instruments
Reports on Progress in Physics, 2006Co-Authors: Vesa Valimaki, Jyri Pakarinen, Cumhur Erkut, Matti KarjalainenAbstract:This article describes physical modelling techniques that can be used for simulating Musical Instruments. The methods are closely related to digital signal processing. They discretize the system with respect to time, because the aim is to run the simulation using a computer. The physics-based modelling methods can be classified as mass–spring, modal, wave digital, finite difference, digital waveguide and source–filter models. We present the basic theory and a discussion on possible extensions for each modelling technique. For some methods, a simple model example is chosen from the existing literature demonstrating a typical use of the method. For instance, in the case of the digital waveguide modelling technique a vibrating string model is discussed, and in the case of the wave digital filter technique we present a classical piano hammer model. We tackle some nonlinear and time-varying models and include new results on the digital waveguide modelling of a nonlinear string. Current trends and future directions in physical modelling of Musical Instruments are discussed.
Edgar Berdahl - One of the best experts on this subject based on the ideXlab platform.
-
feedback control of acoustic Musical Instruments collocated control using physical analogs
Journal of the Acoustical Society of America, 2012Co-Authors: Edgar Berdahl, Julius O Smith, Gunter NiemeyerAbstract:Traditionally, the average professional musician has owned numerous acoustic Musical Instruments, many of them having distinctive acoustic qualities. However, a modern musician could prefer to have a single Musical instrument whose acoustics are programmable by feedback control, where acoustic variables are estimated from sensor measurements in real time and then fed back in order to influence the controlled variables. In this paper, theory is presented that describes stable feedback control of an acoustic Musical instrument. The presentation should be accessible to members of the Musical acoustics community who may have limited or no experience with feedback control. First, the only control strategy guaranteed to be stable subject to any Musical instrument mobility is described: the sensors and actuators must be collocated, and the controller must emulate a physical analog system. Next, the most fundamental feedback controllers and the corresponding physical analog systems are presented. The effects that these controllers have on acoustic Musical Instruments are described. Finally, practical design challenges are discussed. A proof explains why changing the resonance frequency of a Musical resonance requires much more control power than changing the decay time of the resonance.
-
advancements in actuated Musical Instruments
Organised Sound, 2011Co-Authors: Daniel Overholt, Edgar Berdahl, Robert HamiltonAbstract:This article presents recent developments in actuated Musical Instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of Musical interfaces. Actuated Musical Instruments are physical Instruments that have been endowed with virtual qualities controlled by a computer in real-time but which are nevertheless tangible. These Instruments provide intuitive and engaging new forms of interaction. They are different from traditional (acoustic) and fully automated (robotic) Instruments in that they produce sound via vibrating element(s) that are co-manipulated by humans and electromechanical systems. We examine the possibilities that arise when such Instruments are played in different performative environments and music-making scenarios, and we postulate that such designs may give rise to new methods of Musical performance. The Haptic Drum, the Feedback Resonance Guitar, the Electromagnetically Prepared Piano, the Overtone Fiddle and Teleoperation with Robothands are described, along with Musical examples and reflections on the emergent properties of the performance ecologies that these Instruments enable. We look at some of the conceptual and perceptual issues introduced by actuated Musical Instruments, and finally we propose some directions in which such research may be headed in the future.
-
using haptic devices to interface directly with digital waveguide based Musical Instruments
New Interfaces for Musical Expression, 2009Co-Authors: Edgar Berdahl, Gunter Niemeyer, Julius O SmithAbstract:A haptic Musical instrument is an electronic Musical instrument that provides the musician not only with audio feedback but also with force feedback. By programming feedback controllers to emulate the laws of physics, many haptic Musical Instruments have been previously designed that mimic real acoustic Musical Instruments. The controller programs have been implemented using finite difference and (approximate) hybrid digital waveguide models. We present a novel method for constructing haptic Musical Instruments in which a haptic device is directly interfaced with a conventional digital waveguide model by way of a junction element, improving the quality of the musician’s interaction with the virtual instrument. We introduce both the explicit digital waveguide control junction and the implicit digital waveguide control junction.
-
hsp a simple and effective open source platform for implementing haptic Musical Instruments
New Interfaces for Musical Expression, 2009Co-Authors: Edgar Berdahl, Gunter Niemeyer, Julius O SmithAbstract:When we asked a colleague of ours why people do not make more haptic Musical Instruments, he replied that he thought they were “too hard to program and too expensive.” We decided to solve these perceived problems by introducing HSP, a simple platform for implementing haptic Musical Instruments. HSP obviates the need for employing low-level embedded control software because the haptic device is controlled directly from within the Pure Data (Pd) software running on a general purpose computer. Positions can be read from the haptic device, and forces can be written to the device using messages in Pd. Various additional objects have been created to facilitate rapid prototyping of useful haptic Musical Instruments in Pd. HSP operates under Linux, OS X, and Windows and supports the mass-produced Falcon haptic device from NovInt, which can currently be obtained for as little as US$150. All of the above make HSP an especially excellent choice for pedagogical environments where multiple workstations are required and example programs should be complete yet simple.
-
practical hardware and algorithms for creating haptic Musical Instruments
New Interfaces for Musical Expression, 2008Co-Authors: Edgar Berdahl, Hanschristoph Steiner, Collin OldhamAbstract:The music community has long had a strong interest in haptic technology. Recently, more effort has been put into making it more and more accessible to instrument designers. This paper covers some of these technologies with the aim of helping instrument designers add haptic feedback to their Instruments. We begin by giving a brief overview of practical actuators. Next, we compare and contrast using embedded microcontrollers versus general purpose computers as controllers. Along the way, we mention some common software environments for implementing control algorithms. Then we discuss the fundamental haptic control algorithms as well as some more complex ones. Finally, we present two practical and effective haptic Musical Instruments: the haptic drum and the Cellomobo.
Udo Zolzer - One of the best experts on this subject based on the ideXlab platform.
-
introduction to the special issue on virtual analog audio effects and Musical Instruments
IEEE Transactions on Audio Speech and Language Processing, 2010Co-Authors: Vesa Valimaki, Julius O Smith, Federico Fontana, Udo ZolzerAbstract:The 16 papers in this special issue focus on virtual audio effects and Musical Instruments.
