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All right, so we've got to talk here
about Anibal Tronic,
I have here this brave guy.
I see Trap called
since today
he's an electronic engineer is really
into
the fascinating thing of
using using
media controllers and playing
with it. It makes musical instruments
and he's gonna
show you how to get there.
Unfortunately, the musician
is ill today.
So I don't know, maybe we have to call
someone from the audience to help them
out to play some music afterwards.
But this guy will
show it while you're at
it. Thank you.
Let's light the Fuze then.
OK, first.
Hello. I'm a bit nervous, but
happy to be here.
I want to ask you to ask a questions
as they arise so you can keep track
of what is going on.
And yeah, then
this is what this will be about.
I will tell you what I did
with this device.
Then I will tell you what others did
before me. And
then we want to discuss if you
should do the same.
As it is, traditionally, I start with a
finished product.
What we have here is
the current state of the tronic.
I should get rid of the table.
We see the mouthpiece at the left.
Then there are then
there's the pressure sensor, it is
connected with split PVC
holes, there are four
micro switches right
next to the microcontroller board you see
there.
And then we have a joystick
and two more sliders.
On the other side there is another slider
and a mediatheque.
I completely lost track of
shit.
This is the previous version, and I will
use it to illustrate the working
principle, as
you can see, it had quite a lot more
normal, a lot more buttons,
and it could only play
around 11 notes, one for
each button and add another
one for no button.
Pressed the button principle
that you have this mouthpiece to split
holes, which allows it to blow through
solid.
It feels like like a traditional
instrument.
You put your finger on the button and
play it like a flute.
The pressure sensor either triggers
a A. If none has been played
before or controls the volume of
the synthesizer so you can have a
volume envelope for every note
like this instrument.
Does the buttons
define which note is played or trigger
another note when you change your finger
placement?
Mm.
Eleven notes aren't that many.
So I decided to
use fewer buttons
to play more notes, and
the five of the left hand
then were used to encode five
bits.
So using these five buttons,
you can then
count and binary up
to thirty one.
The spot you have
great tonal range.
You can play for full octave
with that if you
commit the same act on.
But it is a bit hard to memorize
32 distinct finger placement,
nobody wants to do that.
And so I
came up with a more ergonomic
control scheme
with the next button here.
Screw that.
Yeah, using only
five buttons, you.
Can ditch one more because that one was
for the thump and was kind of hard to
play, it became a thump rest.
I then added two buttons
for from the right hand.
And that way I
was able to encode 60 notes
and with a right hand
up to four octave, which was.
Actually, it became
playable. You only had to remember.
Twelve finger placements, and you
could say you started to play
semitone, so we had the full tonal range
of our tapes, which is quite something.
Remembering her finger settings is
better than 32, but not
yet Idir and having 16
numbers available for just
12 notes that we that I needed.
Then the final refinement, I decided
to assign
the footnote to the even
numbers and the semitones
to the uneven ones,
that way you only have seven finger
placements left and that actually
was manageable and has been played last
year on this conference,
not by me. I never learned to do this.
And
this is the resulting control scheme and
this is implemented in the current
version. And you see you play
with actually only three of three fingers
and have the pinky left as modifier
for semitones.
The sparks, it still has
a lot of unused buttons and
has the slight problem
that it is a pain
in the ass to manufacture all
the brass rods and threading
and putting it,
it takes ages.
It was kind of uneconomic.
There were tons of cables.
So time for the next iteration, and
this is that that what came
from that on the
other side,
we have the four buttons for the north
and a joystick for pitchblende
and modulation as
somehow they showed up on synthesizers
and never went away.
So I thought I'd go with that
and
two sliders for whatever you
can assign some continuous control
to that and adjust your sound
and whatever you do with the controller
on the lower side, we have
now a slider.
The slider next to the pressure sensor
is used to encode the octave and
the whole range is mapped to just four.
If you want more octave that you can
program, then you can actually solve
this in software, which is nice,
but it becomes
hard to find your octave that
way after some time.
And we have a battery as a power supply.
So you OK, but now
I'm missing the next button
problem is nothing.
What I did is actually
really knew as I found out and
there's tons of prior
art or their.
Especially in the comics and
comment section of the godawful blog,
you find lots of people
asking about asking
questions for their own bids.
So there are really,
really a lot of
guys out there.
As I said, Instructables, this is
the wireless phone.
Some build I found
this one is interesting.
It is this is a device by Ernestina
who started to design these things
in the 60s and built the first ones
in the 70s.
And then actually
designed the one big
commercially available product for
marketers, this is a nice dinner
design, so there's actually one person
doing or this thing out there.
There are a lot of bills, these things
are available, and I have
never witnessed one being
used in some kind of performance,
so they exist and nobody uses
them, which was kind of a mystery
to me.
So there are the reasons why
these things exist.
A lot of practical reasons, statistical
reasons. You can control
not just the files as you can control
your Lytro.
And this might make sense in some
settings, but the really big
advantage of it is
that by traditional instruments
are have an interface that is
mostly defined by the underlying physics.
With an electronic device, you can
do what you want to.
You have no such constraints and
you can build an instrument
for somebody who has maybe
a nonstandard number of
fingers or hands.
Another idea would be
to ditch the controller completely,
replace it with a flip, and you can build
a wind instrument that somebody would
weaken the lung or some other problems
can actually play.
So there that
is the main reason to design these
things, to build
instruments that otherwise
for people that otherwise couldn't
play an instrument.
As an example,
I have the sketch of an eye
for a Tyrannosaurus rex with
a very long neck, reinforced
the mouth piece, reinforced
claw pads and another
bend control input that allows
the T-Rex with a pure fine motor
skills to actually play
the thing.
Another good reason to be those
is to understand what's down
and what we have here is
the device that is built by ARCI
and and the Psagot.
There's a set of metal rollers
and they are opposite
of the left hand
finger that they react to
touch. They can
be moved, but they don't detect movement.
And I've seen this and I
didn't understand why somebody would
build such an interface.
And
then I did this
question.
We have a question. Oh, thank you.
I own this.
So if you're really interested, I own
this device and I know how to play it and
if you know how to play a saxophone, it's
completely obvious why you want to build
it that way.
I understood it later because
this is the only wind instrument that I
actually own and I can play it,
which is a shame.
I'm planning to learn it since two
years or so.
Excuse me, AHTONE Saxophone players here
in the room
are
maybe maybe they can help you
with that.
I actually figured it out because this
set up where the octave selection
opposite of the
left hand fingers doesn't
work so well.
You're putting on the slider
and at the same time pushing against your
fingers so you can
play notes that require you to release
all your fingers and you're just pushing
the instrument out of the mouth.
And that
may be chromatic element, but it doesn't
doesn't really work.
This could be meditated in several ways.
The next step. Like many traditional
instruments.
But in the end, I found out that.
These rollers at the arcade
are actually used for a tape selection,
so no real new idea, that
idea there.
And because they react to touch, you
don't really have to push against your
fingers. You can move your left
hand fingers completely independent from
your thumb.
And because this these rollers,
they give you really good feedback where
your thumb is much better
than the mechanical slider.
So, yeah, by
building my own device,
I kind of imitated
accidentally the
big one by ARCI and
got to understand
why they did what they did, how they came
to these conclusions.
And I got a really nice understanding
about electronic reinforcement.
So this is another good
reason why you
might want to build such a device.
No control.
Yeah, if you thought
you would see something revolutionary
here, they exist since the 60s,
they make sense.
If you have a T-Rex in your life who
wants to play wind instrument now, you
can build one for him
and you probably should.
If you want to understand
these devices, they pose some
interesting software problems.
You don't want to spam your cities
either, but you want to have continuous
breath control the whole time.
And you have to balance that out
in the sense
that the sender is not
quite straightforward.
And there are a lot of interesting
problems to solve that
if you don't want to start from scratch.
Here are the links and.
The front pages is great.
There are several bills and several
different control schemes,
and there is a lot
of theory in there, lots of source
code and lots of solutions
at Peachment.
There's the historical reference.
There are the devices of Noah's dinner
and some other exotic bills.
Hopkins' electronic erro phone
is actually wireless,
which might be interesting
to build if you are into that.
And of course, we have the
number tronic which you
have seen here and several pictures.
So
thank you very much. I have the
impression that I've been quite fast
this time,
I'm kind of as relieved as you.
And are there any questions?
Fantastic. Thank you very much, CIDRAP.
I think we all appreciate it.
Did come over to speak about Knebel
instrument.
Actually, I can help you as well to point
you to some saxophone players who play
this actually kind of devices.
Are the people here among the audience
who play this instrument?
Is there a possibility maybe to show us
all the instruments because you
have the theater in your box?
I, I actually brought it with me
and the
full bill of materials is
is on the is on
the page and there are some
bought which
were you can't all a less than six.
So, so
I don't I don't want to hold an orchestra
so.
Yeah not yet but there are
enough people here to make that kind of
band I presume.
Is this functional.
Is this, is this, can we test
it without having
damages.
Not right now. The firmware is kind
of balked currently.
I came here to to
finish the development and
to work on the next iteration because
as I said, this solution
for octave selection is less
than ideal.
But there are some people who can
help you with that, are there?
I thought that that maybe some some
people around here might know something
about building hardware.
I'm I'm not sure, but
I don't see any hands yet.
No one there.
OK, we found
one second.
Very nice.
OK, there are questions I presume
is here from the
Internet.
Uh, yes.
The question is, why did you choose a
noncanonical set up for the finger
buttons and
what.
Excuse me. Can you repeat that, please?
Why have you chosen a noncanonical
set up for the finger buttons?
I hated playing the recorder
at school and I wanted to go
as far away as possible from
that.
We know that feeling, I presume, is there
another question somewhere here in maybe
oh yeah, one second, please.
Take the microphone, sir.
Playing the buttons, yeah,
what exactly does the breath do?
It's the what does the pressure sensor
do? Is it from volume or.
Yeah, it controls the
the channel volume.
I think it's C, C seven
or something like that of the whole
synthesizer.
So you can define
your your volume envelope for each
node.
OK, thank you.
Right.
And someone else questioned
the foreign mikes here, someone on the
Internet.
Yes, they are. Please, sir, take the mic.
So if you want to see somebody who's
really good at it playing the archive,
you go to YouTube and Google
and search for original raised
by Michael Brecker.
And then you see a and so
I don't return original original
Ray's original
by Michael Brecker and his band.
OK.
No, thank you.
No one else here with the suggestion,
is there a band that can be
now assembled here in the back?
No, but thank you very much once again.
Thank you. Trap for this fantastic
presentation at.