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Some Thoughts on Composing a Navigable Space

Some Thoughts on Composing a Navigable Space. Dr. Dan Hosken Assistant Professor of Music California State University, Northridge. Presented at: SEAMUS 2004 San Diego, CA March 25, 2004. Definition.

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Some Thoughts on Composing a Navigable Space

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  1. Some Thoughts on Composing a Navigable Space Dr. Dan Hosken Assistant Professor of Music California State University, Northridge Presented at: SEAMUS 2004 San Diego, CA March 25, 2004

  2. Definition • Navigable Space: a real or virtual environment that is traversed by a user or surrogate. Aspects of that navigation such as position, velocity, acceleration and “effort” serve as input to an interactive music system.

  3. Related Work • Gerhard Eckel (esp. Camera Musica) (http://viswiz.gmd.de/~eckel/publications/eckel97b/eckel97b.html) • Char Davies (esp. Osmose) (http://www.immersence.com/) • Tod Machover’s Brain Opera (esp. the “Harmonic Driving” game) (http://brainop.media.mit.edu/)

  4. Scale • Concept realizable on different scales • Videogame-style (keyboard/joystick) • Fully immersive VR environment • “Sound Space I” is currently realized on the videogame-style scale • NavigationSound Parameter mappings should scale

  5. Physicality • “Character” subject to some physical laws • Expenditure of energy is special concern • “Physicality” implies a sense of physical reality— not necessarily subject to literal laws of physics.

  6. Parameter Mapping Levels • Direct: motion directly affects aural result (e.g., localizing a sound source to the onscreen character) • Indirect: motion affects a higher level entity (e.g., causes a group of tones to brighten or distort) • Abstract: motion tendencies affect the tendencies of higher level entities (e.g., sustained activity affects the pitch evolution of the materials)

  7. Sound Space I Technology • Macromedia’s Director multimedia authoring software • Niels Gorisse’s CPS—patchable realtime synthesis software (Max/MSP-ish) based on MPEG-4 SA (Csound-ish) • CPS is also implemented as a Director Xtra—CPS patches can be saved as Lingo scripts

  8. CPS Interface

  9. CPS Patch as Lingo script -- Subpatch: 'RMShaper4' -- Subpatch: 'RingModOscil' set sinus174 to CPSgetObject("sinus") set multiply175 to CPSgetObject("*") set multiply176 to CPSgetObject("*") CPSOBJConversate(multiply176,"_UP") CPSOBJConversate(multiply176,"_UP") CPSOBJConversate(multiply176,"_UP") set multiply177 to CPSgetObject("*") CPSOBJConversate(multiply177,"_UP") CPSgetConnection(multiply175,40,sinus174,20) CPSgetConnection(sinus174,30,multiply176,10) CPSgetConnection(multiply176,30,multiply177,11)

  10. Setting CPS Parameters CPSOBJkin(polytab4,5.0,0) --polynomial table CPSOBJkin(dur4,250.0,0) --note duration CPSOBJkin(att4,50.0,0) --Attack (ms) CPSOBJkin(dec4,50.0,0) --Decay CPSOBJkin(sus4,1.0,0) --Sustain Level CPSOBJkin(rel4,100.0,0) --Release CPSOBJkin(numberField266,58.0,0) --unlabeled numberfields CPSOBJkin(numberField267,0.88,0) CPSOBJkin(rmfreq41,1.0,0) --Frequency factor for ring mod 1 CPSOBJkin(rmamp41,0.5,0) --Amplitude of ring mod 1 CPSOBJkin(rmfreq42,2.0,0) --Frequency factor for ring mod 2 CPSOBJkin(rmamp42,0.0,0) --etc. CPSOBJkin(rmfreq43,3.0,0) CPSOBJkin(rmamp43,0.0,0) CPSOBJkin(rmfreq44,3.2,0) CPSOBJkin(rmamp44,0.0,0) CPSOBJkin(rmfreq45,3.7,0) CPSOBJkin(rmamp45,0.0,0)

  11. Sound Space I Visual Interface Cindercone, Lassen National Park, CA

  12. Sound Space I Visual Interface • Invisible overlaid shapes delineate “hot” and “cool” zones • Asteroids-style ship is controlled by arrow keys plus a ‘F’ast key • Friction factor is applied to ship movement—higher in hotter zones, lower in cooler zones • Doors to lead to other landscapes (future) • Invisible, moving trap doors (future)

  13. Sound Space I Mapping: Engine • Simple phasor at nearly sub-audio run through low-pass resonant filter • Largely “Direct” mappings • Horizontal position  Pan • Speed  Frequency (ca. 16 to 20 Hz) • “Effort”  Filter Cutoff

  14. Sound Space I Mapping: Shaper • Non-linear waveshaping instrument with ring modulation • Largely “indirect” and “abstract” mappings • Note-level parameters include ASDR envelope parameters, distortion index, and ring modulation frequency factor • Notes are played automatically in a regular rhythm with pitches chosen from tables

  15. Sound Space I Mapping: Shaper • Global parameters include note duration, inter-onset time, inter-onset randomization amount • Pitches are chosen from tables • Transposition determined by effort level associated with zone • Effort associated with various zones determine most parameters

  16. Temporal Shape: Activity Level • User actions determine much of the temporal evolution • An “activity level” is calculated from the user’s persistence in various zones • Currently the rate of activity level accumulation is externally set • Activity level determines the pitch collection “expansion” and the octave offset • Each landscape may have a different balance of “hot” and “cool” zones

  17. Dan.hosken@csun.edu http://www.csun.edu/~dwh50750/

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