lecture notes • Spring, 2018
Liam Brady's 1st project report, 2017
lets you control multiple modules with one MIDI channel, send multiple controller messages from one control.
Insert modules within combi. Can have mixer inside combi or mix externally.
Open "Programmer", select the module you want to assign a controller too, insert source (mod wheel, breath control, expression, etc.) and destination and scaling in table. A source can be assigned to one or more parameters, with scaling and polarity, in each module. (Mod wheel gets through as mod wheel regardless of whether it's assigned.)
Rotaries are controllers 71-74.
Buttons, binary, controllers 75-78
analog: simple waveform.
Wavetable: sample, just a few cycles, move through it using position.
Phase modulation: combine two waves in series, and second one modulates first.
FM pair: two sine waves, relative pitch creates sidebands. FM control determines level of sidebands.
Multi: multiple osc same wave, detunable.
Noise: white, colored, band-limited
Filter types: LP (Moog-style), Comb (many teeth), Formant (x-y, harmonic-related peaks, vowel sounds), state variable (notch or peak sweepable between high-pass and low-pass)
LFOs have delays, assignable in matrix.
Global section: affects everything. Envelope assigns to filter, or somewhere else. LFO 2 is free-floating, must be assigned.
Meta-events: events about events. How do you implement them in Max?
Use Objects: metro, tempo, sliders, dials, lists of numbers, random, number boxes with limits and offsets
Tempo, accelerate & ritard
Range, also restrict to key, scale, chord
Tendency masks: "clouds" of random numbers controlling function to keep it within certain limits, and changing the limits over time
Crescendo and diminuendo, using velocity (control over individual notes, but only one velocity byte per event) vs. volume (continuous control of level, affects all notes on that MIDI channel)
Harmony: distance between notes. Does it follow key, scale, or chord?
Counterpoint: how musical voices move against each other, parallel, opposing, combination
Orchestration: use multiple Reason modules on multiple MIDI channels to layer different sounds or create an orchestra.
Density: growing/shrinking chords or clusters using module's polyphony setting
Designing an instrument:
What gestures will control it?
What sensors do you need for those gestures?
What will need to be done with the sensors to make them "playable", e.g., mounted on wood, put in tubes, duct-taped to your head?
How do the sensors translate into switch contacts, or 10KΩ resistors, or +5V DC sources, to use with the Arduino? Will there need to be supplementary electronics?
What processes will be applied to the MIDI data coming from the Arduino in Max?
What will the instrument sound like, and how will the sound be controlled by the gestures?
Assigning team tasks:
Specifying and obtaining sensors.
Specifying materials to make sensors playable, i.e., the human interface.
Wiring the sensors making the wiring robust.
Adding circuits to process sensor data.
Writing the Max patch to process the data.
Designing the Reason patch.
Be Sure To Document Wiring and Circuits!
Signal Processing in Reason
Processing modules: reverb, complex reverb, flanger, delay, scream, etc.
Assign each module a MIDI channel in Reason Hardware Interface.
Controller numbers assigned to each parameter are in the MIDI Implementation Chart PDF and smaller charts in "Reason controller charts" folder.
Use Max to assign different incoming data to different channels to control efx, mix, aux sends, panning, etc.
Reason NN19 module: plays samples, with many of the same filtering and envelope parameters as Subtractor.
Building sample map, assigning controllers.
Aligning pitches in sample map—setting root note. Keyboard tracking=no pitch change.
AIFF, WAV, or MP3 audio format. Samples can be mono or stereo.
Recording, importing and converting sounds,
Self-contain setting: make sure all samples imported or recorded are clicked so they are saved with the rack.
How to solder: a graphic tutorial
Lab safety and rules: Goggles when using any power tools. No power tools when you’re alone.
Don’t use tools you don’t know how to use, especially soldering irons, jigsaw.
Unplug soldering irons after use. Unplug glue gun after use.
Don’t overuse hot glue. Heat destroys components.
No spray painting in the building: take objects outside and use cardboard backing so paint doesn’t get on pavement or grass.
Information on the Virtuoso Violin
Information on the TEControl BBC2
Max Free 30-day trial: http://cycling74.com/downloads/
Toggle, push-button, momentary, lever, magnetic
Rotary encoder: has two different switch contacts, “0” and “1”. Speed of encoder determined by how fast switch contacts are made; direction determined by order of contacts.
Continuous sensors can act as resistors or current generators. Some, like rotary or slide potentiometers, can be connected directly to the Arduino. Others need buffering, amplification, and/or filtering to provide usable signal.
• Force-sensing resistor=pressure. Button-type or strip.
• “Softpot”, flat variable resistor, ribbon or circular
• Joystick=two-dimensional variable resistor
• Flex sensor=bending angle
• Infrared distance sensor=from about 1.5-10 inches. Available in various ranges. Get too close and the field inverts.
• Photocell: presence or absence of light
• Accelerometer: 1-axis, 2-axis, 3-axis. More sensitive ones can measure tilt (responding to gravity)
• Piezo electric foil=striking or bending force. High voltage.
• Color and gesture: https://www.sparkfun.com/products/12787
• Myelogram https://www.sparkfun.com/products/13027
Reason NN19 module: samples, with many of the same filtering and envelope parameters as Subtractor.
Can drag samples into keymap, load samples from disk, or record directly (30-second limit, automatically trims silence at beginning)
Intro to Max:
Free 30-day trial: http://cycling74.com/downloads/
Check AudioMIDI Setup to see that MPD or keyboard is recognized.
Launch Max. Before opening a patch, check Max's MIDI Setup: “in a” is MPD or keyboard, “out a” is fromMax1. Disable all other inputs and outputs
Launch Reason. Set Sync Pref Bus a to fromMax1
Edit and locked mode. command-E toggles, or click on lock icon.
object box = function
start typing, list of objects appears. To list them all, Max Help: objects A-Z or by function
Number box = for monitoring.
Can choose to display MIDI note numbers OR names (get info)
Patch cables connect everything.
Notein, 4 arguments: port, note#, vel, ch
Makenote: port, note#, vel, length. Has to then go to a noteout. test for not-zero [ != 0 ]
cntlin: port, controller value, controller #, channel (if no channel, will accept all. If wrong channel, won't respond)
Sliders (0-127), can change (Get Info). Kslider, shows keyboard.
Pipe: number of arguments is number of messages passed, with last one being delay time in ms. "0 0 0 time" will delay a MIDI message (zeroes are placeholders).
Random n=puts out random value 1-n
Metro=clock, number of milliseconds. Start and stop with toggle at input.
Select=waits for value, passes 1.
Print command, for monitoring data: open Max Console window to view
Akai MPD26 and Reason
Using MPD with Reason--you can now control anything on the panel with the proper controller numbers. Controller assignments for the Reason modules are in the "Reason controller charts" folder in EMID Resources.
Multiple modules in Reason: addressable by MIDI channel, and by assigning different pads and controls on MPD to different MIDI channels
Vyzex MPD editor instructions:
• Launch application
• Click OK at MIDI Ports Setup
• Wait! Image of the device will appear on screen.
• Click on a pad or control to change it.
• MIDI CH CC=current global channel (usually 1) You can set a pad or control to any channel, but always use bank A (e.g., 1A, 2A, etc.)
• Pads can be set to momentary or toggle (on/off). Pressure (aftertouch) can be on or off (don’t use Poly Pressure-PPr)
Note: WHEN YOU HAVE SET A NOTE NUMBER, MOVE THE CURSOR OFF THE NOTE NUMBER—or else playing another pad will impose that pad’s note number on the current pad! (It's a feature: it lets you program the thing using a keyboard.)
• Sliders can be set to controller number or Pressure.
• Knobs are similar, also have option for NRPN—don’t use!
• Click on name (“Generic”) to name your preset.
• File>Save Set As….to save entire bank of presets. When you come back to the lab, File>Open to get it back.
Traditionally uses MIDI cable, speed is limited to 31,250 bits/sec, about 1000 commands/sec. Other transports (USB, Firewire, Ethernet, Bluetooth) have much higher speed limit—essentially none.
Virtual MIDI connections (inside operating system, using software synths) also have no speed limit.
External devices communicate with computer using MIDI-USB interface or just USB, in which case computer must have software that recognizes the device. Apple and Microsoft have their own drivers; if hardware is compatible with it it's called "class compliant". We have a custom driver/patch for Max that recognizes Arduino.
What are synth parameters? In Subtractor:
Filter frequency and resonance
Amplitude envelope, filter envelope, modulation (assignable) envelope
LFO rate and depth, waveform, destination
Polyphony: 1 or more
Portamento=glide, time is adjustable
Mapping keyboard physical gestures to musical ones: mod wheel and velocity
Using knobs: The Oxygen keyboards are set up with these controller numbers:
Mod Wheel=1 Data slider=7
Amp Env Attack=73 Amp Env Release=72 Filter Freq=74 Filter Env amount=18
LFO rate=26 Osc Mix=107 Osc 2 fine tune=104 LFO 2 amount=111
Use MIDI Monitor to see what the knobs are doing.
Save the whole "rack" (.reason) in Reason: Create your own folder in EMID Resources folder.
Three types of interfaces
Familiar: keyboard, guitar, drums, malletboard, violin, woodwind, brass. Advantage, people already know how to use it. Doesn't require new skills, practicing, rethinking how you make music.
Most commonly in electronic world: keyboard. Used with Moog synths, Switched-on Bach. Became glorified organs with thousands of stops, people play all of them the same way.
But, can extend technique to play keyboard in new way that has different expressive parameters (aftertouch, wheels, pedals).
Adaptive: or extended, like keyboard with pedals; stringless guitar; wind controllers with more buttons and levers than a conventional wind instrument; violins with sensors on the bow, etc.
Unfamiliar: like Theremin: hard for guitar or string players used to articulating with right hand. Using different parts of the body, or in different ways. Finger position or movement on surface or in free space. Relative positions of fingers -- spread or angle. Bend of joints: wrists, elbows, knees. Pressure on surface. Requires practice and mastery! Think of music in different ways than simple button-pushes/discrete events.
MIDI command structure
Real-time control language.
Some commands three-bytes, some two, some one, some longer.
Best expressed in hexadecimal notation: 0-255 decimal ($)=00-FF Hex
Numbers below 128$ (80H) are data bytes. Numbers 128$-255$ are command bytes.
Channels: second half of command byte, 0-F=read as 1-16. Different insruments respond to different channels. In Reason, each module is on its own MIDI channel.
Note on (9n) + note number + velocity, off (velocity). Decimal ($): 144-159
Note off (8n)+ note # + velocity. Duration is time between on and off. 128-143$
9n with velocity zero is equivalent to note-off
Controller (Bn), controller number, value. Some continuous (wheel, slider, breath, foot control), some switched (sustain pedal). 127 of them, not all defined. Used for any kind of continuous command. 176-191$
Pitchbend: (En) + LSB + MSB. Like controller but its own command, double precision. 224-239$
Mono Aftertouch or Channel Pressure: (Dn) + value. 208-223$
Poly aftertouch (An) + note # + value. 160-175$
Program change, (Cn) 0-127. Reason doesn't respond to it. 192-207$
An electronic musical instrument uses gestures to control electronic circuits.
Can be simple (direct) like theremin
or complex (through microprocessor) like Wriggle Screamer (video)
Computers provide ultimate flexibility: they can produce any sound, and interpret any gesture however we like, once we get the gestural information into the computer.
The physical aspects of an instrument no longer have to have any relationship to the sounds it makes.
Two metaphors/paradigms for musical instrument:
1) Instrument metaphor:
Causes a sound to be made
Control of pitch(es)
Expressivity takes many forms:
Pitch articulation (more than just turning on a note)
Amplitude articulation (initial and subsequent)
2) Controller/Mixer metaphor:
Sequence or pattern generated automatically or by a single gesture.
Gestures control the parameters of the sequence as it plays.
Selection, adjustment, nudging, changing volume/balance/timbre on the fly
To think about when designing an instrument:
Depth & Virtuosity: As you learn it, you get better and can do more with it.
Something interesting to look at? Audience needs to pay attention, be able to connect what they see visually with what they hear.
1) What's music? Varese: organized sound. Working definition: Sound that is created deliberately, with intent, and has interest as sound.
2) Elements of music: melody, rhythm/tempo, harmony, timbre/orchestration.
Elements of music performance: prescription, improvisation, interaction (and grey areas between)
3) What's a gesture controller? Something that responds to a physical action by one (or more) human beings. Examples: Squeeze, blow, pluck, bow, hit with hand or foot or stick, press with fingers.
How we do it: Links in the chain:
• Electronic sensors to detect gestures: touch, pressure/force, movement, acceleration, distance, displacement
• Framework to hold the sensors and make them playable.
• Device to turn data from sensors into MIDI: Arduinos (formerly Doepfer boards), Bela
• Software to interpret and process the MIDI data: Max
• Synthesis software to turn the processed MIDI into sound: Reason, Max MSP
• Audio system to produce the sound
What we will do in the class:
• Study existing electronic instruments, see them demonstrated on video and live
• Conceptualize physical gestures as they can be used to make music
• Learn MIDI, what the commands mean, how they can be used to control music
• Learn Reason, a software synthesis system, and how to set its parameters
• Translate gestures into electronic form, using sensors, and then translate them into MIDI using Arduinos
• processing real-time MIDI data with Max
• optional: using Max/MSP to generate audio, Bela for self-contained audio
• Building new controllers and systems
• Work in teams of students with complementary skillsets
• at the end, do a public demonstration
Resources: Course pack (buy at Gnomon Copy); reference books, manuals, and catalogs in lab, on computers, and on-line.
Lab: Electronic parts and tools, sensors, software, mechanical parts, hand and power tools for woodworking and assembly. 3D printer, X-Carve 3D computerized router/carver.
Laser cutter, more tools in Bray Labs and at CEEO at 200 Boston Ave. Available to all with training.