Gravity Sound now allows a user to determine the cutoff amplitude for each string. A pfft~ object then only allows frequencies whose amplitude is below the cutoff value to output. This is useful when a string has modulation, delay, reverb affecting its signal and it’s volume begins to overwhelm the rest of the strings. The value for the filter cutoff is assigned to the absolute value of the string’s x coordinate. So whenever, the string is directly parallel to the camera’s direction vector, the filter cutoff is 0 and technically no signal should go through for that string. If a user has a string selected, they can toggle the filter on and off by pressing the filter button. Each string can have it’s own filter cutoff, depending on its position.

Value from OSC determines the cutoff amplitude

The following video shows how each string’s convolution reverb can be assigned to a different impulse response. The dry/wet of the reverb can also be assigned. If you look carefully in the video, when a string is selected the left menu will show what impulse response it is using. However, it will not show the proper dry/wet value it is assigned to. If I assigned the string to 40%, deselected and then selected it again, it may not show 40% but it is actually still assigned to 40% until I adjust the slider again.

Impulse Responses: 1) I placed a mic inside a giant singing bowl and recorded it’s decay after being struck 2) Dropped a large flat book in a shower 3) and 4) Stuck a spring in between the piano strings and waited for it to explode out

Flanger is receiving values via OSC to control delay output of each individual string

Gravity Sound connects strings to planets in our solar system where each string’s tension is equal to the gravitational pull between the two objects it’s connecting. A frequency can then be found, knowing the length and tension of the string.

The strings in Gravity Sound now have delay capabilities. Select the delay button on the left menu and a parallel solar system will appear. If a string is selected (highlighted red when selected), a user can then create a string in the delay solar system which will modulate the selected string. Only one delay string can modulate a selected string at a time. The resulting values that are sent to MAX/MSP over OSC are:

delayTime =  abs(y coordinate of string midpoint)          ….(absolute value)

delayRate =  string length x 3            …units are AU. which is the distance between the Earth&Sun

delayDepth = 4           …changing this in real time didn’t sound so great. 4 sounded okay

delayFeedback = 1 – abs(sin( angle between camera and string midpoint) x 2)    …wanted it to be                                                                                                                                                close to 1

delayWetness = 100 * abs(cos(angle between camera and string midpoint) / 2)

Our piece explores the potential of design, and in particular intelligent environments, to be viewed as theatrical spaces, and by doing so questions the sociopolitical role of speculation in both art and design as well as their relationship.

The Product:

In this piece we lay down the framework for a speculative collaborative environment, and by this we mean a truly collaborative environment, not just an environment to collaborate in. An environment to collaborate in is a phenomenon that is quite common around campus these days. The bottom two floors of Hunt Library are a great example of such a space. However, a collaborative environment isn’t just one where you go to work with a group, rather the environment itself is a melting pot of ideas and inspiration in which people are constantly listening to, and learning from one another. The common anomaly of seeing someone sitting in a so called collaborative space with their headphones on, completely defeats the purpose of the space. Yet, sometimes you genuinely do need to finish writing that paper, or documenting that project, and being completely tuned into a space is just distracting. With our current technology, this is either an all or nothing decision you need to make: you can either put in headphones and cut yourself off from the world, or not. This, however, does throw the baby out with the bathwater.

Imagine a way to reorganize and customize your sound field so that you can keep exactly that which is constructive within earshot, while getting rid of all those noisy or distracting elements. The people at the other table are having a fascinating discussion about particle physics? Bring them closer. The person beside you complaining to their best friend about their mother? Get rid of that from your work flow. What’s more, we have a tangible interface that allows you to interact with the sounds in your environment by just moving stones in a little zen garden. This way, when you put in your headphones, you don’t have to completely tune out of your surroundings. Instead, you could focus while still absorbing new ideas and perspectives.

The Implementation:

To realize this idea, we experimented with ambisonic sound processing in Max and how we could relate this system to a physical representation or tangible interface for users to interact with. Using Max’s HOA library as a starting point, we began to construct the framework for binaural audio processing. The HOA library allowed us to map out our sound sources (in this case, multiple microphones) on a cartesian plane, giving us the ability to select and reposition sounds from the places we planted our mics. However, because we did not want our user to have to interact directly with a messy and complicated patch, we worked on finding alternatives means of sound source selection. Using the cartesian plane as our model, we milled a wooden basin at the roughly scaled dimensions of the media lab to provide a tangible surface for user interaction. Emulating the style of a desktop rock garden, we included sand and rocks that would come to represent the sound sources that users had the option to manipulate. To relate this tangible interface to our max patch, we used an aka.leapmotion object and programmed the X, Y and Z planes for receiving leapmotion finger data in order to capture the user’s hand movements when moving the rock sound sources around. In the future, we plan to improve this interaction by replacing the leapmotion interface with one that is embedded within the basin itself. We plan to experiment with a system that detects pressure or relative space rather than fixed position.

Our setup for the single user product experience included a MOTU, 4 Sennheiser receivers with 4 lavalier microphones, the rock garden with 4 stones, a leapmotion and our max patch for binaural audio.  

After completing this tool, we thought about the possibilities of extending the scope of the interaction to incorporate multiple people, even an audience. Immediately we thought of incorporating the 8 speakers in the media lab into our project as a way to to do this. Several changes that we made to the patch to accommodate this was making the output 8-channel as opposed to binaural. We also smoothened the patch presentation so that during a performance we could easily activate and manipulate the levels of the sound sources around the room as a two person team. While one        person at the rock garden had the capability of moving individual sound sources spatially (as that is all that our leapmotion interface afforded), the other working at the patch was the person selecting and monitoring the sound sources for the other to use.

The Performance:

Starting with this prototype of a speculative intelligent environment, we started thinking more about the social and political implications of such an environment. First of all, how would people even interact with such a space? Why would people enter it? The person wearing the headphones in the description above has an enormous amount of power over the others. He can amplify and silence the others at will. The only way this is a viable environment is if everyone is given the potential to exercise this power. This implies that this speculative collaborative environment would look somewhat like a computer cluster, except instead of a computer each seat would come with its sonic interface.

Secondly, we realized that this could very easily devolve into a tool for being nosy or spying, which made us wonder how the expectations for privacy in such a space shifts. In such an environment, where every word you say is potential inspiration for someone else, the idea of privacy and personal space becomes very different. It is almost as if by entering the space, you have agreed to your words and ideas becoming a part of creative commons. This kind of an environment may sound extreme, but you give up your data to strangers on a day to day basis. Every click of your mouse inside a browser, every photo uploaded to Facebook is another piece of you beyond your control. Our environment is merely an amplification of the existing invasion of privacy.

However, for us the most interesting implications were the political ones. This device could enables people to cultivate selective hearing. This has astonishing political implications. The user gets the power to silence entire conversations or perspectives just by moving a stone. This could very literally lead to an echo chamber, an augmented reality (or rather diminished reality) in which all dissenting voices are silenced. However, this too is just a natural extension of what the filtering and feedback algorithms of Google, Facebook, and YouTube lead to.

We wanted to use this speculative intelligent environment as the stage for a performance that highlights the invasion of personal space and thought.

Through all this speculation, we realized that, while our hypothetical intelligent environment is far from anything we have right now, the underlying principles and consequences are just continuations of trends that are already well underway. This leads us to question whether the narrative of inevitability that is so often associated with technology is real, or just an intelligent design decision. Another idea we were exploring was the relationship between speculative art and design, and their ethical concerns. A particularly haunting example is that of the dystopian science fiction novel Neuromancer. This became such a cult classic that much of what is known today as cyberspace is actually designed around the speculative reality that this novel was trying to warn us against. Our piece serves as a commentary on such a cycle of progression, while very much partaking in the same system it references.

Max Patches

Binaural

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8 Channel

<pre><code> ———-begin_max5_patcher———- 3235.3oc6cs0jiZiE94d9UP4JO5wgitvk8ob4gr4grSpzyV6kIS0EMVsMYvf W.2yLIU1e6qt.XrMfkTaSOSxlK1Xg.Nmy2mN5HgNp+sWbyr6y+.qblyew4MN 2byu8hatQVjnfap+8My1D8g3znRY0lEmuYCKqZ1b04pXenRV9s+iu+0e6e04 a96u90u5ucayoSVJOY98+xKQdMEtMpJdcR1p6JXwUpmMJ.uvcN+Kh3K.Bk+x cgqyaqunrcaRxRYURo.1WX9tplRcqKsr5ioL4yclnfe+EuP7w7mpB95u9md8 Wd6qe0O1nj+bVOpI3NhZ5Qj5mmGHUSh2ymZduT7XEMR6iIr2+XRYx8IoIUer 6SO+gGJY0JfqPf6Juo4wuisbYQzpx3h7zztBXbZR76pVWjua05tkyxhtOks9 zKPchGO8D2uZS9R1AkjWrjK7cJoKUyeLplmjbgAjBC7EeQfgvflaeVzFkw91 7cYKui+YQL6tuccT1JVwBtok+nl0Kd0ZGkEU8wsLkfLalya++.2g.GcDfi.3 Ez4NTWprUCR5w.BnZib+Px2d22mscWU4n3EYH7pLYUVT5r4idjUXZF68b0+D WNo4QKumSv5wMiev4cy3ij9W7bU1Ky7xLHqUJPs2omlSnAz6sErsrrkN7mTJ u2odzdeMz9PuEdHNgIDeQ0+KktugUVFshchx6535Pn7OBEGAXwgPf3XDRbLx WbLFDGy+29rNdZXc7PJqCxyebyC54w7LT2ve8tkI4+b1qx9xW8vCMmMMIiEy 8KW0Uf65WA0TyGxypJS9UobAvBZHEB7GwZI6jHf3t.DFKpz1gQ10gsPGhySy KZbIiAe9ieduG0sCoNVxNpQqesutHg63wBaL6WWFE+eatmGHZgHJITJOdDeW O4QD.78NTx5Ziwiv5BEdtCvXEmiH8fSnmixw6iJJ87106WcfnGPwtD57dOZ. qpE1tsQYrz9BykzTX45nk4uWbhWBivvTVFWkkAPRm0T3bLLU2nGn2HLEERlO zQcue8XDKDg0vj5g2fzti6LW5fVVvhA.CUTG6+f1JFaKx2lWTkjmotA3PKPg zjGYKDs96AI7FqSBfJM73PYvfpXAQfcsqUde51tlP8ck7NrOf7vxiBCnf+gL v8wBw8DUW1urqrJ4gj3nFKSyyNpnH+8Jo4B5N8e1igiPszaIl2KBBy+GtdR4 bXIiVYfCuTtL0zzdsbYNFgiLV+tXW4X9nTrzrffFd2mCLNzkMlVQnONn9hbI z19oEMl8w0wz36pWy40IKWxxtTw.dQ4Y63sV20iEBOZjuRqPSjcfqlA9uMpf KuUrh6Tii6fAOcfAAOjAIQ3ZQXCF21jTw1T1NNhxjXwELW7AW4+IV6uRx9w0 Qkr82p6W8PRZpjxeWyic1phnkIcbp0sRxOg1lGsQyPntgp3r7UkcPqiiuAn8 8sFh.YTPhqxEIOxOffgybGZuAgtPnJLJt.3RTGwKZjaPauqH+t8utuBm1EZe 2kcU4sVJQ0tbskWmGsPDAoC3fbvNDGpimiuSP2lBODEyFXz9Ta6mgfoxnl7I 0Lc+vwavGn6DocQaCOhUCubwRtGbtuXgw6qhWGkwCmrTeSG4IZ5P9ZZ5H8Z5 BdRyQxbsmKkmUDJeaUxFA9z3NpGb.dZ3P6jTXIN7TmqpmU66lnsBqKoO6J9I ZWoj+HaWEFPt0qcJfiJZumhSgV18rc5GREzY2OZE0y3vwqeGN66WpuYZWNwa DjqJhWuvE9seOdDIkQOdffv0lVELNIdyrQhbALKxkzjRYnKG78AVkifqNh3x 6hppJRteWEa+Qk03VMvIPmzcr7GZJto7tReZd1pdPv2Pea8i6fZWtl2o+v.9 A0sQSw8btjrjJtFcpsquZUattqT8hO1VvJYU2sLpJ5NIyWVL+HP9eujSsPAT eUzMtHb.+HdfnfGBKh8QF+T2Oj7wYGbmPx6j6hvPWhXdmdI+PR8g7akanut2 IrRrDmfeSbATXfZbQnPDBz7lz7vN7iSJomqjZ8U5Y8U5a8UFX8UFZ8UBt1eo f8WJx9KEa+kZOQBrmIA1Sk.64Rf8jIvd1Dxd1Dxd1Dxd1Dxd1Dxd1Dxd1Dxd 1Dxd1Dxd1Dxd1D1d1D1d1D1d1D1d1D1d1D1d1D1d1D1d1D1d1D1d1Dwd1Dwd 1Dwd1Dwd1Dwd1Dwd1Dwd1Dwd1Dwd1Dwd1D0d1D0d1D0d1D0d1D8ID.t8rIp8 rIp8rIp8rIp8rIO6YSd1yl7rmM4YOaxyX1zcqJx2s8jA9JKscbuy.w60Z3QS 1TakNOa17ddE4GUUr9UkneUo5WUO8qpu9UMP+pFpeUqGHod0ELntF.XfAHFX .jAFfYfAfFX.pAF.afA3Fx.bCY.tgL.2PFfaHCvMjA3Fx.bCY.tgL.2PFfaX CvMrA3F1DGjFfaXCvMrA3F1.bCa.tgM.2vFfaDCvMhA3Fw.biXROaFfaDCvM hA3Fw.biX.tQL.2nFfaTCvMpA3F0.biZRHIFfaTCvMpA3F0.biZ.t4Y.t4Y. t4Y.t4Y.t4cNbq4MjczqJRlHJ0uKI04kuYylutLu93x3nTFWP3wU67RP7M++ cW302xkZrDJgFnVCn0YBDJb7kKk2yyBge.iPgy5nrk+69zYuyqyHUZOQQiqx teRoxlf6nwRjHUJP74Lt22x1ECmWmavc7mS391n24nF3tC1INpnhUlDk4HA+ 9VA9gisLbUqGDQtjIvdZv3FB5yig3gzb9SrOLdDUKnNaRkpDUy094C4Eahp5 Ry0e0fhFzLLeRRSrxAcAhFqo.3KsPXrpo.wlrCy85qW80DGMVxEiPJ0pdcl+ 7oVCxdgfyCKnP2+vweG1fDdV7rNk3+SQ6YY+6bRN2yt7CX.O7vXQ3.pb1CQg E9gggAhboCg+bpK9SrCRSQe1A54oOeFXFFt4A47Yv0eD6uaXCB97.9ed5+eW 11n32ohCb.GEvYsWfurQQPnM8WN3pJkifQxkS5QGbkyc7u.67EDmuf1WpUcd KAQ0y6ml4C9PCGh+.YNaiR6q4B575rZyjvtbfeT9+0NO3ushOPn9xVDnmlA9 8t3sQis3sIJ6iJXxfmx9TyI4vYXfGQ9x2V3FBAxoZZA3QBON4xm3rR3+v85U jyoDNeUTbUxiLGnGNUf4lREUiTmwmvEs40ftYunVrp7UhTQqIgBVyD6cL5kW Acygfy2bDZHZ5P2zumJn+jSWWhXuo63HF8cYmZhNcZTuj6TLQuKZQJKZ6lbY 1.1iK.aosptGCQW+8PEsXrxKTl+yGsqkIU.YhYefwqdAendr0sec1qDKYkUI YsY97aZMVcpy9rDtwXsLoTv2VNb5TpqzHR34yJNhb9sW4At7xiNlGw9KyTYe 70PdDIC4nxyljkay4sYqoLdTrJGHqSTZhZ+Ho926eXWNsvSGqp+zYU0oMvz0 HvinCHiMCjwHYd.RBVD.c.4lBtBnrNfbvjYToZYToSq7.5HOvzIOHcjGzzIO XcjG7zIODcjGxzIOTcjG5zIOd5HOdSm73qi73OMxCVG+OmqSlC2CMNZM0dE7 gKkZPGoFzUpOXkDeEkZjNRM5SMaMVGoFqmTCmrzsuFRMbIhHcxs0fN7ZxmZ7 ZPGdM4SMdMnCul7IFuVNHS3o5u9nfvUuhF+vCGnU8uuFJgNwfimtfdO5Q0u7 HVuJSTPTXjtxyzDjIVGmoGIzWS4Aoyzw3Y3zMfCBVrm7igvd9kanbORQMnU0 utBMOP95B+f9pGxWodtf7KjZ+MT9yqgJPuDyUvEVd.cjGX5jGjNxCZ5jGrNx yz3wQGGfS2DwA53uQrnulJ4Qmo+EMcyLHnS+4vzMoZfNdeNBTupxiNSxGLcS WOnyf9goK9KPmg8fmVw4bNmAxzJOmEtlP6iNderTZTu3vnsaejUTVeKkBxrM Q+hZjVxsUPd3MYpeJeS7yJXhbZQUe4pAeVTQ75jJVb0tB0Ko7CAp2rsb6QuH aWRc5uvMAun9MbdzKqb+62T7Wyfaqhp1Ud2Ozti+xU8Gh1kVcn4pyl55wawb saItpyVmZNGMx2PBz7mX.rORsWzJ1EbocZhTeMsabtj1c6VhGxWsW5SBPXYN fsebn0WFxvc61Naf7c1ha6aqgus98sY11lbQyqYaE7yd7KVd1FtAMo4Z5xNa AC06V+aR2wZdc48CDQww7Gvw+kbvSlefK7ZsXghhZT3Kn.9cELVlwRnb1Cnh MmcrZYND3g7u7B2+hkll+9wkttKAg2HWDBzPW2f1F08H8AH4VYt6B+.HPshM ngz1+hNbYTfcatmU7c4oKM13529GICZHBjIb3BnKe2bAjeM+9K9e.jWi88A ———–end_max5_patcher———– </code></pre>

Sound Source Switcher

<pre><code> ———-begin_max5_patcher———- 556.3oc2WFsajBBEF9Z8ovv0ta.jYXl8UoYSCpjVZTz.X2ooou6q.5LSarpM oNQ6MZ3ebN7+cDOG30v.PZ0ItFD8mn6hBBdMLHvIYEB5FG.JYmxJXZ2iApZL EbCH1+ShbuX5S+BcnWrlYxdTHe3dEOy3iMBs+2v3HLMwdKA1eM5uc+GYSoP1 FX2jftH5mNmJrSUadof6l19ILqprjKMdMqzagg1KwyjII+esDzGMC+jOTEUr 7RtVGQFBW5H3tyQKBevdihcni+Zz1q5kLuTy8gF.NGkqRDK.zICA89ogFh1v PiGB5cSBMkrgYFMDyjIYlPWyL2TlxUCAVxHfgot0tH5Q6scv4gVMSwJ4Ft5d tjk5MMbPrweJ1wQfTl7gkGe7XEoOl7SGezX3i2+SGe3zku27zm1XLUxAner8 mjPbK8O5piiOecB3Ubc61NXFQ6780q08oPOP3e2Vo7ekB+nU+NyUi0mOAR2J 4JJc4SUjQanf2JoJBd4SUi07ASfalu.gSlpbAETHje7vUNxs5uO+oqZTY81p qXUzE3y4ZiPdFy6trWlqdnGE44b40UfyEZaQY2K.3fuHmqc1OG6fuY1gLG6f tY1AOG6.uY1wdzz0zhGzJa0i8.cqokOHxJa8Sxb7ygamevqL+fVY9Atj9w2J iUW+LWo6hoyJsM8epRYGRicCER+P2V8AJ9yh9memSgoZa5aZai1n78YOcvuO SPYUNWIaDtt0g1Y9sv+CYx.rbA ———–end_max5_patcher———– </code></pre>

Here’s the (WIP) patch:

Thanks!

But in addition to max I needed to write an opengl shader to manipulate the model. I also decided to handle lighting and color in a shader as well. Here is that shader:

I wanted to make an expressive Guitar Controller using Max and Max 4 Live. I used an old guitar I had laying around that I wanted to create something fun and new with it. I used a bare conductive Touch Board ( https://www.bareconductive.com/shop/touch-board/ ) for the brains on the guitar, and an application called Touch OSC running on a mobile device.

Here is a picture of the guitar:

I used aluminum foil for the touch sensors which are connected to the Bare Conductive board. For this demo, the touch sensors are controlling my last project, the drum synthesizer. The sensors go from top left; Kick, Snare, Tom 1, Tom 2, Tom 3, Closed Hat, Open Hat. Then the two touch sensors near the phono jack on the guitar are mapped to stop, and record in Ableton Live. Also, there is a stand alone play button on the top right of the guitar that is unsee in the picture. I plan on using conductive paint for the touch sensors in a future generation of this device.

I also had an incredibly hard time working with a Bluetooth module. The original idea for this project was to be completely wireless (other than the guitar jack, which wireless systems already exist) and the Bare Conductive board to be running off of a LiPoly battery. I sadly, couldn’t get a head of the correct bluetooth firmware on my HC-06 module chipset to support HID interaction. Hopefully in a future generation of this device, I can make it a complete wireless system with conductive paint. I wanted to focus on the Max and Arduino plumbing for this project.

On the Touch OSC side, I created a patch that interprets the OSC data to changing the parameters on my guitar effect patch running in Max 4 Live. The Touch OSC patch looks like this:

The multi-sliders control the Delay and Feedback lines I used from an existing M4L patch. The first red encoder controls the first gain stage of the guitar effect. The second red encoder controls the second gain stage of the guitar effect. Together they make a distortion effect on the guitar. The red slider on the right is the amount of reverb time that the distorted guitar receives. The green encoder controls the amount of delay time that is taken in the effect. Lastly the purple encoder is the amount of feedback taken in to the effect.

In Ableton Live the guitar effect has this UI:

The effect parameters can be effected here as well, as well as levels, and a master out.

The drums are pretty much the same as my Project 1. Here is a link to my Project 1: https://courses.ideate.cmu.edu/18-090/f2016/2016/11/06/drum-machine-project-1-steven-krenn/

This is what it looks like in Ableton Live:

Here is the code to the guitar effect:

Here is the drum synthesizer:

Here is the Bare Conductive board’s code:

Also, because this project has a lot of part to it, I will upload a Zip file to google drive that includes all of the files you would need to get it up and running on your machine.

Here is the link to the zip:

https://drive.google.com/drive/folders/0B6W0i2iSS2nVWDA4SW5HS1RCV3c?usp=sharing

For the future iteration of the device I could imagine, Bluetooth (wireless), battery powered, conductive paint on a 3D printed overlay, and a gyroscope. I am excited to continue working on this next semester.

Have a good one,

Steven Krenn

This patch works well with images generated in photoshop to produces interesting patterns. Conceptually, I am interested in creating patterns with tons of human artifact (especially digitally), but are they really artificial since people are a product of nature?

In this project, I utilized the SearchTweet Max Java external to search the Twitter API.

I began with a simple song construction:

While Max is playing the sound file, it uses SearchTweet to identify the 10 most recent tweets of the search parameter, and stores them in a Coll object.

Tweets

A number of operations (word count, letter count, number of uppercase and lowercase letters, the use of exclamation points, etc.) are performed on the text received from the Tweets.  Based on the results of those operations, values are sent to grainstretch~ object to manipulate the track.

Operation values also affect the voice (using aka.speech) of the synthesis engine speaking the tweets above the affected music.

Main Patcher

Sound of the affected sound file.  As the variables will change per each refresh of the Twitter content, this is an example of the types of transformations that occur.

(Max file was missing in initial upload)