Traversing a Score in 3D Space: Free IanniX Explores Strange, New Worlds

IanniX — From UPIC to IanniX from IanniX on Vimeo. In the beginning, there was the bar. Actually, wait – that came later. In the beginning, there were sketched outlines of notes. And the notes became fixed in pitch space, and then, increasingly, in time, in divided measures from left to right. And so, what we know today as Western music notation came to be. But then, in the 20th Century, composers began to undo the rigid boxes that score produced. First with pen and paper, later armed with the computer, composers connecting graphic and sound started to violate those …

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Grabbing Invisible Sounds with Magical Gloves: Open Gestures, But with Sound and Feel Feedback

You might imagine sound in space, or dream up gestures that traverse unexplored sonic territory. But actually building it is another matter. Kinect – following a long line of computer vision applications and spatial sensors – lets movement and gestures produce sound. The challenge of such instruments has long been that learning to play them is tough without tactile feedback. Thereminists learn their instrument through a the extremely-precise sensing of their instrument and sonic feedback. In AHNE (Audio-Haptic Navigation Environment), sonic feedback is essential, but so, too, is feel. Haptic vibration lets you know as you approach sounds — essential, …

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Music from Floating Balloons, via Kinect

In a whimsical proof of concept, artist and inventor Dan Wilcox harnesses the depth-sensing powers of the Kinect camera to turn a room full of drifting balloons into music. It occurs to me that the basic spatial model can be seen as descended directly from the Theremin – way to go, Leon, still relevant today. The sounds are simple, but it seems something you could continue to develop musically – to say nothing of what it could do for the ball pit at Chuck E. Cheese’s. (Slogan: Where a Kid Can Be a Kid Who Gets Obsessed With Skeeball Prizes …

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Music in Space and Time: Wild Geometries and Sequencing in Iannix, Free

Nerds: It’s an OSC sequencer. It’s JavaScript-programmable for making your own generative music. It works with hardware and other software. You can use it in real-time. Everyone: it makes spectacularly strange sounds out of spectacularly beautiful flows of geometries through space. IanniX, the latest-generation descendant of work done by pioneering experimental composer Iannis Xenakis, has been evolving at rapid pace into what may be the most sophisticated graphical sequencer ever. Xenakis originally had to content himself to drawing elaborate, architectural graphics on paper, then later being one of the first to use a graphical tablet for interactive scores. IanniX, backed …

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Strap on Gloves, Play Two-Handed Spatial Theremin

Based on work with the Oblong g-speak “spatial operating environment” gestural system – research that inspired the film Minority Report – our friend Trey Harrison has been doing some wonderful work with new Theremin-style interfaces. He writes: I have been working with Oblong Industries (http://oblong.com) and took some of my spare time to combine their technology with my Salvation project (http://slvtn.com) and build a theremin-like instrument. There are three degrees of control: Pitch is adjusted by moving hands left and right. Volume is adjusted by moving hands up and down. Vibrato is adjusted by moving hands foward and backward. Many …

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Drop Spin Fade: Gestural, Game-like Sound Control in 3D

Chris O’Shea sends along his latest project, a collaboration with sound designer and composer Owen Lloyd called Drop Spin Fade. Part of the Future of Sound tour, Drop Spin Fade allows users to position, sculpt, and play with sound in a 3D environment using gestural control. Drop Spin Fade The music/sound environment: Through a series of iterations, Chris and Owen have started simple and built increasingly-sophisticated sonic control using the setup, manipulating granular samples by spinning and bouncing them around the space. It’s not just positioning at work here: you can actually shape the sounds you’re hearing by interacting with …

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