By J. H Poynting and J. J. Thomson
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Extra resources for A text-book of physics: Sound (Fourth Edition)
The case in mind is Joe Malloch’s t-Stick (Malloch and Wanderley 2007), who in collaboration with composer/performer D. com). I also take principles #10 and #11 (“New algorithms suggest new controllers” and “New controllers suggest new algorithms”) with a grain of salt, as I believe that they underplay the idea importance of mapping (between controller outputs and algorithm inputs). g. Hunt et al. (2002)), leading to interesting instruments. Furthermore, not all instrument designers are proficient in sound design and might just want to use algorithms they are familiar with, even when using different controllers (and conversely).
Note that this is also an example of the “Smart instruments are often not smart” principle, in that the instrument doesn’t change at all, but rather trains the user to use more gentle and subtle manipulations of the sensors. ) over the surface of a small table. ” 6 Violins/Strings: BoSSA, the Nukelele 1998–99 Stringed instruments have a rich historical musical tradition. They also have a rich tradition of electronic interfaces, both commercially and experimentally with many electrified, MIDI, and pure digital violins and guitars.
Construct controller proxies (functional GUIs) (labeled 22, should be 23) So one additional (personal) principle that I would add has to do with doublechecking the numbering of lists in papers and sequels. Another principle might be that we never know where a piece of work, or publication, or small workshop as an adjunct to a larger conference, might lead. The ACM/CHI New Interfaces for Musical Expression workshop turned into something bigger than any of us might have dreamed. I’m really happy to have been a part of the NIME history (so far).
A text-book of physics: Sound (Fourth Edition) by J. H Poynting and J. J. Thomson