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The University of British Columbia Department of Electrical and Computer Engineering Human Communications Technology Laboratory. EXTENDING MUSIC PERFORMANCE & COMPOSITION USING TWO NOVEL INTERACTION TECHNIQUES Farhan Mohamed, Sidney Fels, Florian Vogt. Pedal Panner (Performance).
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The University of British Columbia Department of Electrical and Computer Engineering Human Communications Technology Laboratory EXTENDING MUSIC PERFORMANCE & COMPOSITION USING TWO NOVEL INTERACTION TECHNIQUES Farhan Mohamed, Sidney Fels, Florian Vogt Pedal Panner (Performance) LMNKui System (Composition) Introduction:The pedal panner allows a musician to pan sound with his foot. We use a 2 degree of freedom foot pedal with a vibrotactile haptic feedback to control the panning task effectively. The issues of mapping a secondary task like sound panning to secondary channels of the human body are identified below. Panning the sound source with a foot while performing is a new and expressive interaction technique for a non-MIDI performer. Introduction: Existing user interfaces for sequencing electronic music require the use of three input devices: a piano keyboard, a computer keyboard, and a mouse. LMNKui, or Look Ma, No Keyboard! user interface is an ergonomic method for controlling sequencing software from the piano keyboard with an additional foot pedal. Right locator Record Stop Punch In Left locator Pedal panner System Specifications: Roland JV-30 synthesizer running Cubase VST sequencing software. C3 B3 LMNKui keyboard • Design:The design of the layout incorporates mapping macros for the four common sequencing windows to different octaves on the synthesizer keyboard. A single octave is pictured to the left. The four common windows and some examples of their functions and mappings are as follows: • Transport window: Record, Stop, Play, Solo etc. from C3-B3. • Arrangement window: Track down/up, Create new track etc. from C4-B4. • Key Edit: Open key-edit, next note, etc. from C5-B5. • File Handling: Open, Cut, etc. from C5-B5. System Specifications: The No-Hands Mouse, a 360-degree pressure-sensitive foot pedal is used, allowing the user to control both speed and direction with one foot while a second pedal is used for switching. IRCAM’s Spat, a real-time spatial processor, is used to control the instrument in 3D space. Open/start Close Fwd solo Click Rwd Punch Out Haptic Interfacing • Design issues for secondary channels • Matching channel to task:Moving a secondary task to a secondary channel of the human body, such as the foot, involves matching the bandwidth and resolution of the task to the associated muscle group of the controlling part of the body. • Range of channel:A study of the capabilities and limitations of our body’s control channels that engage in secondary tasks is important. A higher range of motion implies a higher channel capacity. A study of the ankle joint is critical to understand the pedal panner’s effectiveness. • Intimacy between channel and interface • Feedback from interface to channel: The higher the degree of freedom, the higher the chances of ambiguity without appropriate additional feedback. CPU running Spat / Cubase Range of the ankle joint • Future Developments • Quantify the time performance improvement. • Apply these principles to other instruments. • Leverage the principles of musical structure. • Investigate different key boundaries . SPAT • Applications • Software-basedmusic sequencing. Spat • Applications • Liveperformance interface • Studio and Live sound mixing
