The set itself has bluetooth capabilities, no? I don't understand why Osculator can't discover the bluetooth drums. I've downloaded a trial of Osculator but I can't get it to recognize the drum set. I want to turn this drum set into a midi controller. I just put batteries in it and all seems to be well, the lights flash, etc etc. It's not white, but it is wireless, so I assume it was for Rockband 2 (2nd Gen Drums). The other day a crazy guy on the streets of NYC handed me a working Rockband drum set for Wii. Acoustic Image, Ampeg, TC Electronics, Gallien Krueger).ġ Firewire Audio Interface (Saffire Pro 10).I did some searching in the forums and found nothing so I decided to make my own post. Transducers: Realist by David Gage or Fishman Full Circle.ġ bass amplifier with direct output (pref. The categories are proposed in the interface design, the kinetic synthesis of the interaction and in the fixed dependency of the sound capture. Those structures are addressed as a knowledge domain where improvisation takes place. Then we explain the interface design and the semántic propose of the interactivity (parameter mapping, intelligent processes and and kinetics syntheses), We suggest the crucial role of interface design for ease an intuitive interpretation applied to sound processing and the advantages and possible domains that are present in the virtual instrument test with a free jazz performer.Īt the end we imply that gesture in music becomes significative in the musical content generated by interactivity by putting it consciously in the interactive design (traditional musical communication structures can be created by the system). First we describe the standard parts for the musical interactive system, sound capture, sound análisis and sample manipulation. In this we the way in which the virtual instrument "Scratchadelic" is designed. Also a multi XY slider that permits the dynamic and spatial control of the delays (position, feedback, and time delay). An interface designed in Touch-OSC with the purpose of controlling volume levels of the play of the 5 memory slots, and independently control the scratch of the 5 virtual turntables. The computational system consist of one audio input, 5 virtual turntables with independent memory slots that can capture up to 15 seconds of sound, 5 sample players and 3 full variable-time delays. Occasional leadership and non-planned distributed tasks are identified in poor but fast way during performance. We point out how this interactive dependency demands collaboration over the roles of the improvisation. ![]() We propose this scheme as a creative external constraint, that we define as a fixed dependency that may be the root cause of "sense" in creative decisions and the sound gesture generated by the performers and that might be recognized by the audience. ![]() Scratchadelic is an interactive experimental system in sound processing and music gesture, in which the electronic instrument is required to work in a peremptory manner capturing the sound generated by their partner. In the traditional music duo interpretation is required that both parties can generate sound, implying a two way flow of the musical-sound information. more keywords: Collaboration, free jazz, creativity, constraints, virtual turntables, performers dependencies, puredata, Osculator, Wii, Ipad ![]() Keywords: Collaboration, free jazz, creativity, constraints, virtual turntables, performers depen.
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