Sensor Placement and Mapping

 


Whilst thinking about sensor placement for the cello, paper was cut according to the dimensions of the various sensors and used to get a sense of the physical sizes and layout in relation to the cello. During this process it was decided that the position of the buttons and sliders act as fret markers along the side of the neck. This also makes the sensors very accessible as they are easily reachable with the left hand.

In addition to this, various decisions were made to facilitate spontaneous change whilst playing the instrument. This was found to be particularly problematic when playing in group contexts. These include:

- Addition of easily accessible volume and mute controls.
- Expression pedals can control multiple parameters selected using buttons placed behind the neck (including volume).
- Addition of bypass buttons for all effects.
- Addition of preset switches behind the neck.

Revision of Cello Patch

As a clearer direction regarding the DSP and mapping for the cello emerged it became necessary to recreate the patch for the sake of organisation and efficiency. In addition to this, the following changes have been made to the patch:

- body reverb 

Added the ability to crossfade between two instances

- delay 

Variable quantisation amount of time parameter

- ring modulation

Crossfade between sine and square wave shapes for modulating oscillator

Added crossfade between ring modulation and frequency shifting modes

Added toggle for manipulating different frequency ranges 

- distortion

Refined values for scaling and smoothing of the filter in relation to the incoming audio

- buffer recording and playback

Allows normal or reversed playback of the last bar of audio by swapping between two buffers. The two buffers also allow for seamless playback of recently played material without waiting for the buffer to be refilled with audio.

Furthermore, the analysis section of the patch has also been revised and variable smoothing of the parameters has been added. The values obtained from the analysis are also recorded into a buffer and played back randomly, creating a probabilistic output which can then be mixed with the original values. The analysis section attempts to focus on the intention of the performer and create complimentary or contrasting reactions within the software of the instrument.

Prepared Cello + Can

Recent Cello Notes

As the desired (and not so desired) physical characteristics of the cello become more clear through practice and exploration, decisions start to be made regarding the mapping and future direction of this instrument. 

Notes on Analysis, Bodies and Movement

A series of questions were created regarding the analysis of the instrument's state within a performance situation. This has provided an overview of the different changes that could be used to facilitate the convergence of the acoustic and digital elements.
Furthermore, the concepts of momentum and storing or imparting energy in the cello has been particularly useful when thinking about the mapping of this instrument.

storing/capturing energy transferred into cello whilst playing

determine/detect players intention/ regularity, patterns, tendency, direction, vector

(leaky integrator)

Are movements regular or changing/intermitent?

smooth or clustered/irratic

linear or curved

fast or slow

(use smoothing over shorter and larger periods of time)

How do the movements of the various components of the instrument (body, fingerboard, neck, bridge, strings, bow, sensors) relate to each other over time?

complimentary or contrasting

Where are the movements taking place on/around the body of the cello?

neck, fingerboard (pressure and position)

Are patch parameters being manipulated?

if so, then how are they being manipulated?

Is there any audio in the buffers?

if so what is the nature of this audio?

loop length, dynamics (how much sound) percussive, tonally stable, noisy

Are the strings being played / touched?

how much pressure is being applied?

which strings are being used?

how are fingers placed?

stretched or close

Is the bridge/body being used? (contact mics, pickups)

percussively, soft or loud, scraping (long or short)

Notes for Granular Patch