ï~~Proceedings of the International Computer Music Conference (ICMC 2009), Montreal, Canada
August 16-21, 2009
4.2.3. Ergonomics
Another important concern was the development of ergonomic
ways to produce sound. This issue was especially noticeable in practice sessions with the FM Gloves. The instrument's sensors allowed for many possible movements to be
mapped, but physical comfort of the performer was also
necessary. This meant that the distance of the right hand
from the body while using the infrared sensor and the angle
of the left hand for the accelerometer required adjustment
and modification. In the final version, the gloves themselves
were replaced in order to accommodate smaller hand size.
4.2.4. Sound Diffusion
The question of sound diffusion and balance in performance
situations was not addressed until the final stages of the
project. Being able to control one's sound level on-stage is
important, and may be compared to performances by acoustic musicians who are trained to project to the audience in
the performance space [11]. During rehearsals in the studio, each performer was equipped with their own speaker,
allowing for individual level control. However, acoustics in
performance environments made achieving adequate sound
balance and differentiating between the instruments more
difficult, due in part to the lack of refined dynamic control
and distinct instrument identities (several instruments used
the same synthesizer, Logic Pro's Sculpture). This complex
issue can be addressed in the sound synthesis and mapping
stages of DMI design, as well as further experimentation
with speaker placement and sound projection.
5. CONCLUSIONS
The CIRMMT/McGill Digital Orchestra Project is a successful example of interdisciplinary collaboration between
researchers with differing backgrounds. In addition to designing and building new DMIs, the team's accomplishments
include creative output and the establishment of basic performance practice for the instruments. As the Digital Orchestra instruments and repertoire continue to evolve, the
authors hope to further refine the gesture-to-sound relationships, notational systems and performance paradigms.
6. ACKNOWLEDGEMENTS
The authors wish to thank David Birnbaum, Chloe Dominguez,
Rodolphe Koehly, FQRSC, CIRMMT Director's Prize for
Interdisciplinary Excellence, IDMIL and the DCS.
7. REFERENCES
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