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Inspiring Spirit for DIY Followers

Guitare électrique Augmentée

Un exemple: augmenter sa guitare électrique

Structure / capteurs :
La guitare augmentée que nous avons réalisé, a été developpé sur une base de capteurs en papiers transmettant un signal de position pour certains, de pression pour d’autres. Ces capteurs ont été placés sur une guitare éléctrique dont le signal audio transite par un ordinateur, ce dernier servira dans le même temps à convertir les informations recueillies par les capteurs et transmises à l’ordinateur via une manette de jeu (joypad) connectée en usb. Le son une fois modulé est renvoyé dans un amplificateur, comme une guitare éléctrique standard.  Afin de répondre à des prérogatives ergonomiques et de confort de jeu, nous avons opté pour un capteur de position en ” U” , (voir figure 1), agrémenté d’un capteur de pression  situés au dessus des micros de la guitare. Ceci permettant de controller les effets tout en jouant et  sans lacher le  plectre.

Guitare_gros_plancapteur_en_U

 

De plus, nous avons avons placé un capteur de pression sous la plaque de protection de la guitare située en dessous des micros.  Enfin, le joypad a été installé après le chevalet en bout de guitare.

Guitare_vue_de_dessus_4

Une fois réalisé, nous avons obtenu une guitare augmentée de deux capteurs de pression, d’un capteur de position et des capteurs du joypad.<

Utilisation / Mapping:
Dans le cas de la guitare augmentée, l’idée était d’employer des capteurs pour contrôler des effets appliqués au signal audio, et d’autres pour lancer des sons choisis et stockés dans l’ordinateur (sampling).

- Les capteurs de position et de pression ont été dédiés au contrôle des effets, prenons l’exemple d’un effet “delay”: dans ce cas le capteur de pression peut permettre un reglage du tempo du delay (tap tempo). Concretement cela permet d’ajuster le tempo du delay au tempo du morceau que l’on est entrain de jouer  simplement en battant la mesure avec le plectre ou le doigt sur le capteur pression. Le capteur de position, quant à lui, peut permettre un reglage fin de la durée du delay (temps), de son volume ou de n’importe quel autre paramètre du delay. Dans le cas d’un effet “tremolo”, le capteur de pression pourra fonctionner comme un interrupteur on/off de l’effet, et le capteur de position reglera la vitesse du “tremolo”, ou d’un autre parametre de l’effet choisi.  L’intérêt du capteur de position dans le contrôle des paramètres d’un traitement audio par un effet est immense, car il permet  un controle des paramètres sur une large échelle de valeurs, assignable à notre guise. Les possibilités n’étant limitées que par notre imagination.

- Le capteur de pression situé sous la plaque de protection a été dédié au lancement d’échantillons audio sélectionnés et stockés dans l’ordinateur. Le son choisi est lancé par simple pression sur la plaque de protection de la guitare. Ce capteur a été couplé au joypad afin de permettre une incrémentation dans la liste des sons choisis, ainsi en manipulant le joypad on choisit le son désiré et on le déclenche en appuyant sur la plaque de protection au moment souhaité. Ici, ce système permet de déclencher un son d’orage, un bruit de porte, une texture sonore, ou n’importe quelle source audio à partir de la guitare directement: là encore, les possibilités sont infinies...  Bien entendu, toutes les modifications réalisées sur cette guitare éléctrique n’enlèvent rien de ses qualités acoustiques ou de l’intégrité de sa lutherie: le système étant adaptable à n’importe quel autre instrument. 

L’instrument obtenu, la guitare augmentée, est unique de part;
- la flexibilité de son utilisation liée au nombre de combinaisons possibles entre les différents capteurs et lechoix des paramètres modulés. - l’appréhension même de cet instrument , c’est à dire dans la manière que l’on peut avoir d’en jouer, etainsi envisager la création sous d’autres lumières une fois l’instrument paramétré selon ses propres souhaits. - sa modularité, qualité principalement dûe à la facilité de fabrication des capteurs en papier permettant l’extension des possibilités selon les inspirations ou les exigences du musicien.


FR

The Singer Glove

This controller was  built as one of 6 Digital Music Instruments built for the rock band Zool in 2006 through a Grant from the Fondation de France (Bourse Déclic Jeune).

The original glove had 4 small custom paper-based force sensors plugged onto the circuit of a hacked HID Game Controller: Vin Ground and signal pins can easilly be indentified under the analog direction padsm and it simply takes to connect your sensors in paprallel of the existing joysticks without even removing these. Digital on-off sensors can also be added in parallel to the existing buttons.

These 4 analog sensors enabled filtering. pitch variations, delays and other real-time change in the sound of the singer voice through a Max-MSP patch.

A 5th sensor was later added onto the thumb and used in combination with the 4 others m enabling 8 possible scenarios. A larger force sensor was also added in the palm of the hand which was especially interesting  with clapping gestures.

Last, flexion sensors along the 5 fingers were also produced witch conductive paper and metal adhesivesm which enabled to generate other sound events or real-time sound control using more visible hand gestures.


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Interactive Theatre Scenery

Treasure Islands is the first interactive performance/game using paper-based fllor sensors.
It was created in 5 days by Sarah Albu, Matti Niinimäki and Matt Waddell during the SenseStage workshop at the Hexagram BlackBox in Montreal in collaboration with researchers from Concordia and McGill University such as Marije Baalman.

Related Links:/b>
sensestage.hexagram.ca/workshop/introduction/
originalhamsters.com/blog/2009/05/29/treasure-islands/

Check out this video from DailyMotion shot by Brett Bergmann, Marije Baalman & Matti Niinimäki and edited by Matti Niinimäki:

Treasure Islands from Matti Niinimäki on Vimeo.


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Augmented Wearable Drum

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Designed in early 2006 with a first prototype of tactile shoes connected with 6.3mm Jack and to be plugged directly onto an Electronic Roland Drum in replacment of the usual kick element (video part 1: easy drum kit replacement).

 

A second prototype was developped in June 2006 for the Drummer of the French rockband Zool around a collaborative workshop project in Arts, Science and Technologies funded by the Fondation de France (Bourse Déclic Jeune 2006). A concert was performed the last day using these instruments along with tradtional ones (video part 2: Drummer playing on a pillow).


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Digital Augmented Guitar

Augment your electric guitar with paper sensors

This augmented guitar has been augmented with paper sensors transmitting a position or a pressure. The guitar audio signal passes through a computer, as well as the sensors signals collected by the sensors and transmitted to the computer via a joypad connected in usb. Then, various sound morphing strategies using softwares like MAX-MSP or Pure Data can be used to modify in real time the guitar signal in function of the sensors signals variations. Sensors can also be used to trigger supplementary sounds through MIDI or other sound synthesis softwares.

to  Guitar_Big_Plus_Universal

The once modulated sound is next fed back into an amplifier, like for a standard electric guitar. In order to meet ergonomic prerogatives and play comfort, we opted for a "U" position sensor, (see figure 1), equipped with a pressure sensor located above the pickups of the guitar. This allows controlling the effects while playing and & nbsp; without loosing the & nbsp; plectrum.

 

In addition, we have also placed a pressure sensor under the protection plate of the guitar below the microphones. Finally, the joypad was installed after the bridge at the end of the guitar.

 Guitar_view_of_the_first_4

Once realized, we got a guitar augmented by two pressure sensors, a position sensor and joypad sensors.

Usage / Mapping:
In the case of augmented guitar, the idea was to use sensors to control effects applied to the audio signal, and others to launch selected sounds stored in the computer ( sampling).

- Position and pressure sensors & nbsp; have been dedicated to effect control, let's take the example of a "Delay effect": in this case the pressure sensor can allow a setting of the delay tempo (tap tempo). Concretely it allows to adjust the tempo of the delay to the tempo of the piece that we are playing & nbsp; simply by beating the measurement with the plectrum or the finger on the pressure sensor. The position sensor, meanwhile, can allow a fine adjustment of the duration of the delay (time), its volume or any other parameter of the delay. In the case of a "tremolo" effect, the pressure sensor can function as an on / off switch of the effect, and the position sensor will adjust the speed of the "tremolo", or another parameter of the chosen effect. The interest of the position sensor in controlling the parameters of an audio processing by an effect is immense, because it allows a control of the parameters over a large scale of values, assignable to our liking. The possibilities are limited only by our imagination.

The pressure sensor located under the protection plate has been dedicated to launching selected audio samples stored in the computer. The selected sound is launched by simply pressing the guitar protection plate. This sensor has been coupled to the joypad to allow an incrementation in the list of selected sounds, so by manipulating the joypad we choose the desired sound and it triggers by pressing the protection plate at the desired time. Here, this system can trigger a storm sound, a door noise, a sound texture, or any audio source from the guitar directly: again, the possibilities are endless ... Of course, all the modifications realized on this electric guitar do not remove anything of its acoustic qualities or the integrity of its violin making: the system being adaptable to any other instrument.

Conclusion:

The obtained instrument, the augmented guitar, is unique for many reasons:

- the flexibility of its use related to the number of possible combinations between the different sensors and the & nbsp; choice of modulated parameters.

- the very apprehension of this instrument, that is to say in the manner that one can have to play, and & nbsp; thus to envisage the creation under other lights once the instrument parameterized according to its own wishes.

- its modularity, quality mainly due to the facility of manufacture of the paper sensors allowing the extension of the possibilities according to the inspirations or the requirements of the musician.


EN

The Cigar Box

A cigar box can be an excellent structure for building a drumpad composed of 6 force sensors to trigger sounds whose volume depends on the force applied. The electronic used to implement the sensors is a hacked Logitech Dual Action Gamepad for which the analogue sticks can be replaced with 4 analogue sensors. 
The cycling 74 team that distributes MAX-MSP has made a complete tutorial on how to hack and use a joypad with Max. The goal is to use the Hi object to get data through HID protocols. The paper sensors can either replace or be put in parallel to the analogue stick if they operate in the same resistance range.\r\n 
Each paper sensor has a size of 6*6 cm square and sensors are spaced of a few mm so that the total sensitive area, covered with a drum reactive foam, is slightly more than 12*18 cm square. 4 of the sensors were plugged as analogue sensors in place of the analogue sticks and two of them (on the right) were plugged as digital on/off buttons.

\r\n \r\nA patch was made with MAX-MSP and enables to trigger MIDI percussive sounds (Channel 10), with the sound velocity depending on the force applied for the four analogue sensors.


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EN