Presenting my original “wobble box” to the class and Ali’s guests was a valuable experience.  The criticisms I received were relatively consistent, and I have summarized them to the best of my ability below:

• The box cannot be used to create music as an independent object.  When I performed for the class at the critique, I was using an Akai APC40 alongside the wobble box.  I was using the APC to launch musical ideas that would then be altered using the wobble box, which I had synced to a variety of audio effects.  The complaint here was that it was unclear exactly how much I was doing to create what the audience was hearing in real time, and very clear that I wasn’t controlling 100% of the noises coming out of my computer.  At any rate, it was impossible to trigger midi notes using the wobble box, which meant the melody had to come from an external source.
• The box only has one axis to play with.  At the time of the critique, the wobble box only had one working distance sensor attached to the Teensy, which meant I could only control one parameter at a time with my hand.  Many spectators commented that it seemed logical to have at least two, allowing me to get more sounds out of various hand motions, or even using two hands at once.
• The box doesn’t look any particular way, and isn’t built particularly well.  The wobble box was much bigger than it needed to be to fit the parts inside it, and little to no thought went into the design and placement of the sensors.  It was sometimes difficult to know exactly when it was working or not, and some of the connections weren’t very stable.  Furthermore, the mini-USB plug on the side of the device sometimes moved around when you tried to plug in the cord.

In the interested of addressing the concerns above, I completely redesigned the wobble box, abandoning the old prototype for a new model.

 The most obviously improved element of the new box is the design.  Now that I knew exactly what the necessary electronic parts were, I removed all the extra space in the box.  The new design conserves about three square inches of space, and the holes cut for the distance sensors are much neater.

I applied three layers of surface treatment; a green primer, a metallic overcoat, and a clear glaze.  The result is a luminescent coloring, and a rubber-esque texture that prevents the box from sliding around when placed on a wooden surface.  In my opinion, it looks nice.

A strong LED light was placed exactly in between the two distance sensors, illuminating the ideal place for the user to put his/her hand.  This also provides a clue for the audience, making it more clear exactly what the functionality of the box is by illuminating the hand of the user.  The effect can be rather eery in dark rooms.  Perhaps most importantly, it indicates that the Teensy micro-controller has been recognized by Max, a feature lacking in the last prototype.  This saved me many headaches the second time around.

The new box has two new distance sensors, with differing ranges.  One transmits very fine values between about 2 inches and 10 inches, the other larger values between about 4 and 18 inches.  Staggering the ranges like this allows for a whole new world of control for the user, such as tilting the hand from front to back, using two hands with complete independence, etc.

Finally, I moved the entire USB connection to the interior of the device, electing to instead just create a hole for the cord to come out.  After then securing the Teensy within the box, the connection was much stronger than it was in the previous prototype.

In addition to fixing the hardware, I created a few new software environments between Max and Ableton that allow for more expressive use of the box.  The first environment utilized both Max and Ableton Live to create an interactive art piece.  As the user stimulated the two distance sensors, a video captured by the laptop camera would be distorted along with an audio track of the user talking into the computer microphone.  Moving forward, my goals were to extend the ability to use the box as a true instrument, by granting a way to trigger pitches using only the box and a computer.  To achieve this, I wrote a max for live patch that corresponds a note sequence-stepper with a microphone.  Every time the volume of the signal picked up by the microphone exceeds a certain threshold, the melody goes forward by one step.  Using this, the user can simply snap or clap to progress the melody, while using the box to control the timbre of the sound.  I then randomized the melody so that it selected random notes from specific scales, as to allow for improvisation.  The final software environment I wrote, shown below, allows for the user to trigger notes using a midi keyboard, and affect the sounds in a variety of ways using the box.  For the sake of exhibiting how this method can be combined with any hardware the user desires, I create a few sounds on an APC40 that I then manipulate with the box.

ImSound: Record/Find your sounds in images

We run into a lot of sounds in our lives and sometimes we will naturally come up with certain color with those sounds. We may even form a memory of our city or living environment with some interesting sounds and colors. As for me, when I listen to some fast and happy tempo I could sense a color of dark red and when I run into some soft music, I may feel it is green or blue. Different people may have different feeling about different sounds. Therefore, ImSound is a devices aiming to encourage people collecting useless sounds in lives, all kinds of noise for example, convert them to certain colors based on their understanding and play the similar mixed sounds when run into a new image. The process stems from sound to image and then to sound.

For the user himself/herself, this device may help him/her convert some useless or even annoying sounds into some interesting funny sounds and  find new information from it. As for others, this devices is like a business card of a user’s specific understanding about the world’s sounds and share to others.

Hardware improvement:

Based on last time’s feedback, people failed to get aware of the focus when capturing an image. Thus, in the final prototype, I use a magnifier attaching a camera and a mic as a portable capture device for people to focus where the sound and where they will capture an image, with a metaphor of finding sounds in our lives. Instead of several buttons to control the recording and taking image, a single push button in the handle of magnifier is used to trigger taking a photo and then automatically record a 3s sound.

Software improvement:

Instead of using the whole histogram of images, I converted the image from RGB to HSV and used the H value for histograms with 12 bins (variable). That is to say, the images will be divided into 12 clusters based on their major color. Each image is classified and the sound will be recorded into corresponding track contributing to the library of that color. That is to say, every color has a soundtrack which belong to this cluster. Then a granular analysis is used to divided the sound into small grains and remix them for a new sound of that class. When changing to the play mode, the H histogram is computed and the corresponding sound will be played.

I used a OF ofxMaxim with FFT processing for granular analysis, but the output sound effect is not that good. The speed of sound is changed but without much similar grains connecting together. This is a main aspect I should improve for the next step of this project.

 Demo Video:

Future Plan:

1. the most important is to get more in-depth granular analysis to re-mix the sounds. My current thought is to combine the grains with their similarities among each other. The funny part is that with the growing of number of recording sounds, the output sound is dynamic changing and form some new sound.

2. Take some more actual image and sound to test the effects of whole process. Aiming to a specific type of sound may be a good choice, such as city noise.

Conclusion/Acknowledge:

Although this project is far from fully completion, I learned a lot in this process, not only the technologies such as RPI, openFrameworks and Linux; more importantly, I learned a lot about input/output design, mapping, and telling story (a point I did not do well). It teaches me to think why should we design this device and inspired me to think whom and where does a device will be used in my future projects. Thanks Ali Momeni very much for his suggestions and all the conversations during this whole process of project, and all the reviewers and classmates who help me to improve my ideas and project.

audible color from Momo Miyazaki on Vimeo.

TAPO: Speak Rhythms Everywhere

Idea Evolution:

This project comes from the original idea that people can make rhythms through the resonant property and material of cups and interacting with cups. However, as the project progresses, it is more interesting and proper for people to input the rhythms by speaking than do gestures on cups. It also extends the context from cups to any surface because of the fact that each object has resonant property and specific material. So, the final design and function of TAPO have a significant change from the very raw idea. The new story here is:

“Physical objects have resonance property and specific material. Tap object gives different sound feedback and percussion experience. People are used to making rhythms by beating objects. So, why not provide a tangible way not only allowing people to make rhythms with physical objects around she/he, but also enriching the experience by some computational methods. The ultimate goal for this project is that ordinary people can make and play rhythms with everyday objects, even perform a piece of percussion performance.”

Design & Key Features:

TAPO is an autonomous device that generates rhythms according to people’s input (speech, tapping, making noise). TAPO can be placed on different surfaces, like desk, paper, ground, wall, window… With different material and the object’s resonant property, it is able to create different quality of sound. People’s input gives the pattern of rhythm.

System diagram

a) voice, noise, oral rhythm, beat, kick, knock, oral expression… can be the user input

b) using photo resistor to trigger recording

c) get rid of accelerometer, add led to indicate the state of recording and rhythm play

Hardware

It is composed of several hardware components: a solenoid, a microphone electret, a transistor, a step-up voltage regulator, a Trinket board, a colourful LED, a photocell, a switch and a battery.

Fabrication

I used 3D printing enclosure to package all parts together. The holes with different sizes on the bottom are used for different usage, people can mount a hook or a suction. With these extra tools, it can be places on any surfaces. The other big hole is used for solenoid to beat the surface. The two holes on the top  side are used to show microphone and LED light separately. On each side, there is a hole for photo resistor and switch.

TAPO finally looks like this:

Demostration:

Final introduction video:

Conclusion & Future Work:

This project gives me a lot more than technology. I learn about how to design and develop a thing from a very raw idea, and keeping thinking about its value, target users, and possible scenarios in a quick and iterative process. I really enjoy the critique session, even though it is tough and sometimes makes me feel disappointed. The positive suggestions are always right and lead me to a high level and more correct direction. I realise my problems on motivation, design, and stroytelling from these communications. Fortunately, it gets much more reasonable from design thinking to value demonstration. I feel better when I find something more valuable and reasonable comes up in my mind. It also teaches me the significance of demonstrating my work when it is hard to describe and explain. In the public show on Dec. 6th, I found people would like to play with TAPO and try different inputs, they are curious about what kind of rhythm TAPO could generate. In the following weeks, I will refine the hardware design and rich the output (some control and digital outputs).

Acknowledge:

I would like to thank very much Ali Momeni for his advices and support on technology and idea development, and all the guest reviewers who gave me many constructive suggestions.

Drawable stompbox

Drawable stompbox offers a more interesting and interactive way for guitarist to explore the variety of the parameters of the guitar effect world. With this instrument, people can select the guitar effect they want, then use finger to draw the parameters of your effect. Just like the diagram of time-domain and frequency-domain, this instrument can map what you’ve drawn to specific a set of number representing the amplitude and frequency information which will change the pre-written guitar effect’s parameter. You will get a lot of fun when you are trying to figure out the relationship between your drawing and the sound you heard.

Screenshot and video demo

Here is the screenshot of the Drawable Stompbox running in my iPad:

When you are drawing on iPad, you can not see the lines or patterns. The reason I made the canvas always blank is letting people hear what they have drawn instead of seeing what they have drawn.

Here is a video demo:

drawable stompbox final video from Haochuan Liu on Vimeo.

Previous version

There had been a big change of my project. At the beginning, drawable stompbox was just like a selector for guitar effects: After people wrote down the effects on a piece of paper, the webcam which was above the paper would capture what you had written into a software written in openframeworks. The software would analyze the words and do the recognition using optical character recognition (OCR). When you wrote the right words, the software will tell puredata to turn on the specific effect through OSC, you would finally hear what you’ve written when you play your guitar.

Technical Details

Here is the diagram of Drawable Stompbox:

Buttons and coordinates

I use very simple functions in OpenFrameworks to draw the buttons and get the x/y coordinates when moving fingers on the screen of iPad.

Mapping

The blue coordinates which is invisible in the real software represents amplitude (x coordinate) and time (y coordinate) information.

When you draw something on the canvas, the peak will determine the volume of the sound you will hear. The length of your drawing will determine the frequency parameter.

Communication

The software in iPad uses OSC to communicate with PureData running on the laptop. Thus, PureData can always know which effect is selected and also the values of amplitude and frequency.

Future Work

Currently when you play the guitar with using the Drawable Stompbox you still need a partner to help you draw something on the canvas of iPad to get the parameter change of the effect. It is right now just a prototype or a toy for people to practice instead of performance. The improvement of this project can be changing using people’s finger to using people’s foot. Thus, you can play the guitar and use your foot to draw the effect parameter at the same time.

Face Yoga Game

Idea

There’s something interesting about the unattractiveness that one goes through on the path of pursuing beauty. You put on the facial mask to moisturize and tone up your skin while it makes you look like a ghost. You do face yoga exercises in order to get rid of some certain lines on your face but at the mean time you’ll have to many awkward faces which you definitely wouldn’t want others to see. The Face Yoga Game aims at amplifying the funniness and the paradox of beauty by making a game using one’s face.

Set-up

Myoelectric sensors -> Arduino —Maxuino—> Max/MSP (gesture recognition)—OSC—> Processing (game)

Myoelectric sensor electrodes are replaced with electric fabrics so to be sewed onto a mask that the player is going wear. The face gestures that correspond to the face yoga video are pre-learnt in Max/MSP using the Gesture Follower external developed in IRCAM. When the player is making facial expressions under the mask, it will be detected in Max/MSP, the corresponding gesture number will be sent to Processing to determine if the player is performing the right gesture.

How does the game work?

The game is in the scenario of “daily beauty care” where you have a mirror, a moisturizer and a screen for game play.

Step 1: Look at the mirror and put on the mask

Step 2: Apply the moisturizer (for conductivity)

Step 3: Start practicing with the game!

The mechanism is simple, the player is supposed to do the same gesture as the instructor does in order to move the object displayed on the screen to the target place.

The final presentation is in a semi-performative  form to tell

Drawable Stompbox

Write down your one of your favorite guitar effects on a piece of paper, then play your guitar, you will get the sound what you’ve written down.

Here is the final diagram of this drawable stompbox:

After you write down the effects on a piece of paper, the webcam which is above the paper will capture what you’ve written into a software written in openframeworks. The software will analysis the words and do the recognition using optical character recognition (OCR). When your write the right words, the software will tell puredata to turn on the specific effect through OSC, you will finally hear what you’ve written when you play your guitar.

The source code of this software can be found here.

Here is a demo of how this drawable stompbox works.

Feedback from my final presentation:

I have got a lot of good idea and advice for my drawable stompbox as below:

1. Currently writing down a word to get the effects has no relationship with ‘drawing’. It is more like a effect selection using word recognition.

2. I was thinking of drawing simple face on the paper instead of just boring words. How about using a webcam directly to scan real people’s face, getting their emotion on their face and then find the relationship between different faces and different effects.

3. Words recognition is so hard, for there are a lot of factors to make it doesn’t work well, such as the hand-writing, the resolution of the webcam and the light of environment.

Following work:

For the following weeks, I decide to make my instrument a real drawable stompbox. I will begin with a very simple modulation:

People can simply draw the ‘wave’ like this:

From this drawing, it is easy to define and map the amplitude and the frequency.

Then I will use the ‘wave’ from the drawing to do a modulation with the original guitar signal. People can draw different type of waves to try how the sound changes.

1. GPIO control board soldering

In order to use GPIO of RPI for digital signal control, I built a control protoboard  with two switches and two push buttons connecting a pull-up/pull-down registers respectively. A female header was used to connect the GPIO of RPI to get the digital signal.

In RPI, I used the library WiringPi for GPIO signal reading. After compiling this library and include the header files, three easy steps are used to read the data from digital pins: (1). wiringPiSetup() (2). set up pinmode: PinMode(GPIOX,INPUT) and (3). digitalRead(GPIOX) or digitalWrite(GPIOX)

2. software design

In openframeworks, I used  the library Sndfile for recording and ofSoundPlayer for sound output. There are two modes: capture and play. Users are expected to record as many as sounds in their lives and take an image each time recording a sound. Then in the play mode, the camera will capture a surrounding image and the sound tracks of similar images will be played.  The software workflow is as follows:

Capture:

Play:

3. system combination

Connecting the sound input/output device, RPI, singal control board and camera, the system is as follows:

After taking time to consider exactly what I hope to accomplish with my device, the aim of of my project has somewhat shifted. Rather than attempt to build a sound-controller of some kind that includes everything I like about current models while implementing a few improvements, I’ve decided to focus only on the improvements I’d like to see. Specifically, the improvements I’ve been striving for are simplicity and interesting sensors, so I’ve been spending all of my time trying to make small devices with very specific intentions. My first success has been the creation of what I’m calling the “Wobble Box.”

Simply stated, the box contains two distance sensors which are each plugged into a Teensy 2.0.  I receive data from the sensors within Max, where I scale it and “normalize” it to remove peaks, making it more friendly to sound modulation.  While running Max, I can open Ableton Live and map certain audio effects to parameters in Max.  Using this technique I assigned the distance from the box to the cutoff of a low-pass filter, as well as a slight frequency modulation and resonance shift.  These are the core elements of the traditional Jamaican/Dubstep sound of a “wobble bass,” hence the name of the box.  While I chose this particular sound, the data from the sensors can be used to control any parameters within Ableton.

Designing this box was a challenge for me because of my limited experience with hardware; soldering the distance sensors to the board was difficult to say the least, and operating a laser-cutter was a first for me.  However, it forced me to learn a lot about the basics of electronics and I now feel confident in my ability to design a better prototype that is smaller, sleeker, and more compatible with similar devices.  I’ve already begun working on a similar box with joysticks, and a third with light sensors.  I plan to make the boxes connectible with magnets.

For my presentation in class, I will be using my device as well as a standard Akai APC40.  The wobble box is not capable or meant to produce its own melodies, but rather change effects on existing melodies.  Because of this, I will be using a live-clip launching method to perform with it, making a secondary piece of hardware necessary.

1. My boards arrived!!

After about 12 days, OSH Park fabricated and delivered my boards. Yes, they are fantastic purple and look like exactly what I expect. I soldered and assembled every components together to test the board. Finally, all boards work with all the components but the transistor. I used smaller one instead of TIP 120. For some reason, it could work with Trinket board. So, I used TIP 120 again with my final board.

2. Add Microphone Module!

To solve the problem of gestures and how user interacts with cup and Tapo, I decided to use a microphone to record user’s input (oral rhythm, voice, and even speech). The idea is quite simple: since the electret microphone turns analog voice data into digital signal, I can just make use of the received signal and generate certain beat for a rhythm. That is more reasonable interaction for users and my gestures can be put into two categories: trigger the recording and clear the recorded rhythm. The image below shows the final look of the hardware part, including the PCB board, Trinket board, transistor, step-up voltage regulator, solenoid, accelerometer, electret microphone, and a switch.

3. Fabrication!

All parts should be enclosed in a little case. At the beginning I was thinking of 3D printing a case and using magnets to fix the case on the cup. I 3D printed some buckets with magnet to see the magnetic power. It seemed not very well in attracting the whole case. The other thing looks difficult for 3D printing case was that it was not easy to put the entire hardware part in and get it out.

Then I focused on laser cutting.  I created a box for each unit and drilled one hole for solenoid, one hole for microphone and a hole for hook. I experienced three versions: the first one left one hole for the wire of solenoid to go through, thereby connecting with the main board. But the solenoid could not be fixed quite well (I used strong steel wire to support it); The second version put the solenoid inside the box and opened a hole on the back facet, so that it could tap the cup it was mounted on, but the thickness of the box avoided the solenoid to touch object outside; In the final version I drilled a hole on the upper plate for the switch, and modified the construction for solenoid.

Version 1

Version 2

Solenoids

Version 3

Another thing is the hook. I started with a thick and strong steel wire and resulted in that it could not be bended easily. Then I used a thinner and softer one, so that it could be bended to any shape as the user wished.

4. Mesh up codes and test!!

Before program the final unit, I programmed and tested every part individually. The accelerometer and the gestures worked very well, the solenoid worked correctly, and I could record user’s voice by microphone and transferred it to certain pattern of beats. Then the challenge is how to make a right logic for all the things work together.  After several days’ programming, testing, debugging, I meshed up all logics together. The first problem I met was the configuration of Trinket, which led to my code could not be burned to the board. Then the sequence of different module messed up. Since the micro controller processed data and events in a serial sequence, so the gesture data could not be “timely” obtained while the beats of solenoid depended on several delays.

I built a similar circuit, in which my custom PCB was replaced by a breadboard, to test my code. In the test, I hoped to check if my parameters for the interval of every piece of rhythm was proper, if the data number of the gesture set was enough to recognise gestures, if specific operation causes specific events, and most importantly, if the result looked good and reasonable.

Here is the test unit:

Here is a short video demo of the test: