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Controllers’ Summary (2/2) DIFFICULT SIDE!!! (from Jordà 2007) With the flexibility offered by MIDI, any controller can certainly be combined with any sound- and music-producing device. Still, each choice is critical. As pointed out by Joel Ryan, improviser, leading researcher in the NIME field and technical director of the Dutch laboratory STEIM, ‘a horizontal slider, a rotary knob, a sensor that measures the pressure under one finger, an accelerometer which can measure tilt and respond to rapid movements, a sonar or an infrared system that can detect the distance between two points, each have their idiosyncratic properties’ (Ryan 1991). Any input device can become a good or a bad choice depending on the context, the parameter to control, or the performer who will be using it. Just as the automotive engineer chooses a steering wheel over left/right incrementing buttons, ‘we should not hand a musician a butterfly net when a pitchfork is required’ (Puckette and Settel 1993). The challenge remains how to integrate and transform this apparatus into coherently designed, meaningful musical experiences with emotional depth. It is in fact extremely hard to design highly sophisticated control interfaces without a profound prior knowledge of how the sound or music generators will proceed; a parallel design process will surely be more enriching than buying the ultimate controller for plugging into any custom software. Sergi Jordà, Music Technology Group IUA, UPF – Barcelona, 2008
Interaction Coherence ? The disappearance of physical constraints, should be replaced with deep musical, metaphorical, ergonomic … coherence Seeking coherence is somewhat in the antipodes of the Theremin limited success, which is best known for its “magic” way of playing Sergi Jordà, Music Technology Group IUA, UPF – Barcelona, 2008
Page 1 and 2: Interpretació amb Mitjans Electrò
Page 3 and 4: Traditional Music Instruments / Con
Page 5 and 6: Traditional Music Instruments / Res
Page 7 and 8: Digital Music Instruments Controll
Page 9 and 10: AUTOMATED CONTROL PROCESSES Hammond
Page 11 and 12: Sergi Jordà, Music Technology Grou
Page 13: Controllers’ Summary (1/2) THE EA
Page 17 and 18: Timbre navigation The voice, the d
Page 19 and 20: Hugh Le Caine’s electronic sackbu
Page 21 and 22: Music controllers & MIDI Despit
Page 23 and 24: Sensing data Sensors and microcont
Page 25 and 26: Part III: Design Issues Jeff Press
Page 27 and 28: Dimensionality / Degrees of Freedom
Page 29 and 30: The 11 dimensions of a Data Glove
Page 31 and 32: The hyperhuman controller ! From th
Page 33 and 34: Human control bandwidth (2) How m
Page 35 and 36: Continuous / discrete Not all d
Page 37 and 38: Dimension coupling “To draw freeh
Page 39 and 40: y and Vertegaal SenSorg cockpit ! S
Page 41 and 42: Hold / return / bypass /skip Ret
Page 43 and 44: Acoustic Musical Instruments Exampl
Page 45 and 46: The Joystick Sergi Jordà, Music Te
Page 47 and 48: The Voicer (Kessus, Arfib) Amplitud
Page 49 and 50: Some Joystick (and other bimanual),
Page 51 and 52: AUTOMATED CONTROL PROCESSES Hammond
Page 53 and 54: Multithreaded instruments & shared
Page 55 and 56: Dimensionality and Multiplexing Pro
Page 57 and 58: “Air” Music Short BBC Theremi
Page 59 and 60: “Traditional” Controllers !! Mo
Page 61: Recommended Readings Arfib, D., Co

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