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0000 Augmented Guitar Annotated Bibliography

0000 Augmented Guitar Annotated Bibliography

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Published by: Ragaga on Nov 06, 2012
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Augmented guitar; a study of extended guitar design and methods.
Brian TuohyThis annotated bibliography presents some of the sources of information studied when performing researchon the augmented guitar. The research concentrates on answering questions about the guitar as aninstrument for augmentation which include, amongst others;
Why has electric guitar been such a popular instrument for augmentation?
What are the properties that make it a good choice for extended design?
What has been the most popular direction for augmentation?
What evidence is there that the augmentations have given improved playability?
Do these augmentations address a natural issue that musicians have with the guitar or are theyaspiring to simply create different possibilities?For the purposes of this study, the topic has been broken into several sections.Firstly, the integration of existing interfaces to extend the possibilities of the guitarist’s control of audiodata. This section has subsequently been broken into four sections addressing The Wiimote, The iPhone, usof the guitar in computer game control and other interfaces such as the Monome or Kaoss Pad.The second section deals with electronic modifications where artists have used micro-controllers and otherwiring augmentations to afford the guitarist more control over their sound.In the third section, sources are presented that deal with the area of prepared guitars as a method of augmentation.The fourth section consists of studies that have been conducted relating to the history and evolution of theelectric guitar as a system that welcomes augmentation.The final section is a series of informal notes that have been made thus-far in the study which concernissues of authority integrity, source validity and the location of information that needs to be studied informing an opinion on the subject.Where an abstract is not applicable, an attempt has been made to include a brief background of the authorand/ or their work.In some cases, such as video sources, information on the author is limited and may even mean a lack of theauthor’s real name. In these cases, the screen name of the author is substituted in the reference.
Integration with existing interfaces e.g. Wii, iPhone, etc.
N. Bouillot, M. Wozniewski, Z. Settel, and J.R. Cooperstock, “A mobile wireless augmented guitar,”
 International Conference on New Interfaces for Musical Expression, Genova, Italy
, 2008. pp 189 - 192Abstract:“We present the design of a mobile augmented guitar based on traditional playing, combined with gesture-based continuous control of audio processing. Remote sound processing is enabled through ourdynamically reconfigurable low-latency high-fidelity audio streaming protocol, running on a mobilewearable platform. Initial results demonstrate the ability to stream the audio and sensor data over IEEE802.11 to a server, which then processes this data and out- puts the resulting sound, all within a sufficientlylow delay as required for mobile multimodal performance.”In this paper, the authors present several strong arguments supporting the use of instrument augmentationas a means for musicians to exploit gestural interaction in order to gain extra control over their sound. Weare presented with the possibilities of using a WIFI network to transmit both audio and OSC data from awiimote to facilitate the implementation a wireless, gesture – based control system for guitarists. Crucially,the authors address the issue of latency and offer a solution in the form of a low-latency audio streamingprotocol. It could be argued that this paper is a good starting point for researchers with an interest ininvestigating augmented guitar systems as it presents a concise overview of the advantages in usingaugmented designs, while also assessing and proposing methods for manipulating modern devices, such asthe wiimote, for integration into the system.N. Bouillot, M. Wozniewski, Z. Settel, and J.R. Cooperstock, (2010, October 10) Mobile Wii AugmentedGuitar (McGill Shared Reality Lab). [Online]. Available: http://www.youtube.com/watch?v=9GBdfuzqGaIAbstract: See AboveIn this demonstration, the performer conveys the ideas expressed by the authors in their NIME paper. Thewireless attributes of the system are evident and the video allows for a critical assessment of the success of the latency-reduction measures. A multi-instrument like interaction is presented. When analysed in tandemwith the conference paper, this video presents a great advantage in assessing both the technical andaesthetic aspects of the project, allowing for a greater perception of overall effectiveness.A. Jones. (2010, October 10) Inventing The Future. [Online]. Available:http://thephoenix.com/boston/life/82943-inventing-the-future/Abstract: N/AAuthor Details:This article was written by Abigail Jones for the Boston Phoenix, an American paper that emphasizes localarts and entertainment coverage as well as lifestyle and political coverage from a liberal perspective.In this article, the author presents a thorough review of the work of Rob Morris, a Master’s student at theM.I.T. Media Lab. The article concentrates mainly on Morris’ use of a guitar-mounted wiimote as a methodof controlling parameters of effects pedals. Included in the article are an interview with the developer and avideo of the device being used as part of a live performance. Similar to the wii-augmented example listedabove, this system implements wireless control of audio parameters via gestural interaction. This articlecould arguably be seen as a testament to the coverage that these kinds of augmentation projects arereceiving in mainstream media and possibly to the success and acceptance of the technology.B. Alfano. (2010, October 10) Wiimote Guitar Effects Tutorial. [Online]. Available:http://www.jedineon.com/guitar_rig.phpAbstract: N/AAuthor Details:Bruno Alfano is a computer and electronics student at the Faculty of Aerospace Engineering, UniversityFederico II of Naples.
 Alfano provides a short web-tutorial, which goes into more detail concerning the programming aspects of wiimote integration for control of guitar effects. The on-screen annotations provide helpful backgroundinformation as to the mapping of functionality. However, even with the inclusion of a demonstrative video,it is difficult not to question the integrity of the source. This page clarifies some aspects of the codingprocess but the video does not propose a positive argument for the accentuation of the technology toimprove playability.J. A. Romero. (2010, October 10) Guitar + Gamepad & Wii Remote # SuperCollider . [Online]. Available:http://www.youtube.com/watch?v=383DmSJtVic&feature=relatedAbstract: N/AAuthor Details:Juan A. Romero is a musician (guitarist) working predominantly in electronic music, live coding, and newtechnology.This video demonstrates a project that utilizes a wiimote and several extra buttons that have been built intoa guitar in order to interact with a program written in SuperCollider. Again, annotations are provided toconvey the main functions of the technology, however, no technical information is available to backup theprocesses that are taking place. This leads us to conclude that this source can only be used in an informalsense, as a demonstration of the technology in use and cannot justifiably be attributed any intellectualsignificance.D. Smith. (2010, October 10) Guitar Sense Project. [Online]. Available:http://www.youtube.com/watch?v=b5nwnmH9GFAAbstract: N/AAuthor Details: None AvailableHere, we can see another demonstration, which can be assessed in a similar fashion to the precedingexample. We are presented with a video of a guitarist who uses a wiimote attached to the headstock of hisguitar to interact with Max MSP. The control of the program depends on the data received from theaccelerometer and the buttons in the wiimote. The Max MSP patch is shown in the video but again wereceive no information regarding the processes of the software or the design approach taken. In addition,this author has no links to any external background information so we are left unaware of his sources or anyvalidity to his methods.Marcelovid. (2010, October 10) MacBook Pro + Wiimote + Guitar. [Online]. Available:http://www.youtube.com/watch?v=1ahiP8uFaqA&feature=relatedAbstract: N/AAuthor Details: None AvailableAlmost identical to the previous source, this video demonstrates without the inclusion of writtenexplanation or background information; direct mapping of accelerometer data from a guitar-mountedwiimote to effects parameters in a software application. In this case, the user is controlling the Hi-PassFilter, Decay Time and Feedback level of a Flanger effect in Ableton Live. This is a simple use of datamapping which seems to have been explored in many of the projects involving the wiimote.
iPod Touch/ iPhone 
P. Kirn. (2010, October 9) Create Digital Music - Guitar Adds IPod Touch Controls, Plays Ableton, LovelyAmbient Music. [Online]. Available: http://createdigitalmusic.com/2008/12/23/guitar-adds-ipod-touch-controls-plays-ableton-lovely-ambient-music/2008

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