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One thing I haven’t really given thought about is the possibility for my project 4Quarters to be tailored for kids. But after watching SEAMUS 2012 Co-Director Ed Martin’s son come in and play with it, I realized this might be something worth developing.
There’s a feature in 4Quarters where one can access the ‘low shelf’ filter, and as it is currently set, one can isolate and amplify a narrow frequency band so that it is much louder than any other sound playing. Check out Ed’s son going to town with it.
As a side note, having just returned from the conference, it was a stellar experience. There’s such a wealth of knowledge and a lot of really great people, all geeking out together. Really fun. I was impressed with how well it all went. Kudos to Asha Srinivasan, Ed Martin, and the rest of the crew that put it together.
Hi SEAMUS folks:
Thanks for your interest in my upcoming installation at SEAMUS 2012. If you’re familiar with TouchOSC and know how to transfer files onto iTouch/iPhone, then you can download the custom layout here. If you’re not familiar with the app, I have step-by-step instructions below.
(Unfortunately I have not yet been able to include other apps or mobile platforms reliably, but hope to expand compatibility soon. If you want to participate but do not have an iPhone/iTouch, or if you do not wish to spend $4.99 on this app, there will be a devices on hand at the installation to use.)
3. Download this custom layout, which is a zipped .touchosc file.
4. Transfer the file 4Q_SEAMUS_2012.touchosc from your desktop/laptop to the iTouch/iPhone. One does this by opening up the attached file in TouchOSC Editor, then transferring the file to the phone over a WiFi network (or one can use iTunes as well). There’s documentation here explaining the process, and additionally here’s a YouTube video someone made explaining how to do it.
Once you have the file on your device, you’ll be set to go for the installation. The first page of the file looks like this:
I’ll help with connectivity at SEAMUS. Let me know if you have any questions!
Here’s an updated screenshot of the first ‘page’:
Two big changes occur here. First, there is a ‘poly’ feature that allows a player to select multiple sound files for simultaneous playback. Second, with the additional buttons at the top (vol tilt, pan tilt, and eq tilt), one can conceivably control all parameters at once from one screen.
Here’s a few of my music technology students working with 4Quarters. Here we were experimenting with an overall plan to move as a group from one set of sound files to the next. Synchronicity is a problem, but I think it can be worked out with practice. This is a first run with four people together.
You’ll see some other features briefly, such as panning and EQ. Here volume is controlled by accelerometer (along the Y axis). All these players are using custom layouts I designed in TouchOSC.
So this post is mostly for people with whom I’m in personal contact. Here are the custom layouts for TouchOSC I designed, to be used to play with 4Quarters.
In order to get these files on your iPhone, you’ll need to:
1) purchase and download TouchOSC
2) download TouchOSC Editor on your computer, available here (scroll down the page to find it).
3) open the custom layout files (in 4Q_TouchOSC_Files.zip) from within TouchOSC Editor, and use the sync feature with your phone and your computer both being on the same network. Documentation here.
Android users: it looks like there’s no good way to get these files to your computer. I’m looking into developing custom layouts using Control instead. It’s free on both iPhone and Android. Stay tuned…
In 1888 Edward Bellamy wrote Looking Backward: 2000-1887, a novel with a Back-To-The-Future plot. A young Boston gentlemen is mysteriously transported from the nineteenth to the twenty-first century. I haven’t read it, but found Emily Thompson* quoting from it in an explanation of the demise of Victorian parlor playing. The quote of interest, which I’ll share, is extremely prophetic, especially for 1888. The scene involves a twentieth-century hostess and Mr. West, the protagonist. The hostess asks whether Mr. West likes music, and then asks whether he’d like to hear some 21st-century music:
“Nothing would delight me so much as to listen to you,”[he] said. “To me!” she exclaimed, laughing. “Did you think I was going to play or sing to you?. . . Of course, we all sing nowadays as a matter of course in the training of the voice, and some learn to play instruments for their private amusement; but the professional music is so much grander and more perfect than any performance of ours, and so easily commanded when we wish to hear it, that we don’t think of calling our singing or playing music at all.” (click here to see the chapter online)
It goes on to describe how they select music from a card that Mr. West described as having the ‘largest programme of music I had ever seen,’ being ‘as various as it is long.’ This of course, evokes something like an iPod, tablet computer, or one of those silly DirecTV music menus, and is a pretty slick prediction in its own right. But I’m way more interested in the expectation for performance.