<strong>BiVib</strong> is an extensive piano sample library consisting of <strong&... more <strong>BiVib</strong> is an extensive piano sample library consisting of <strong>bi</strong>naural sounds and keyboard <strong>vib</strong>ration signals.<br> Samples were acquired with high-quality audio and vibration measurement equipment on two Yamaha Disklavier pianos (one grand and one upright model) by means of computer-controlled playback of each key at ten different MIDI velocity values.<br> Project files (<em>instruments</em> and <em>multis</em>) are provided for use with the free software sampler Native Instruments Kontakt 5 Player (available for Windows and Mac OS).<br> The nominal specifications of the equipment used in the acquisition chain are reported in a companion document, allowing researchers to calculate physical quantities (e.g. acoustic pressure, vibration acceleration) from the recordings.<br> The library is especially suited for acoustic and vibration research on the piano, as well as for research on multimodal interaction with musical instruments.
Abstract. Viene presentato un lavoro di rielaborazione ed espansione di alcuni risultati del prog... more Abstract. Viene presentato un lavoro di rielaborazione ed espansione di alcuni risultati del progetto europeo SOb (The Sounding Object) [IST-2000-25287] il cui obiettivo è stato lo sviluppo di modelli fisici sonori per l'interazione. Alcuni di questi modelli sono stati implementati in un ...
Touch has a pivotal importance in determining the expressivity of musical performance for a numbe... more Touch has a pivotal importance in determining the expressivity of musical performance for a number of musical instruments. However, most digital musical devices provide no interactive force and/or vibratory feedback to the performer, thus depriving the somatosensory channel of a number of cues. Is the lack of haptic feedback only an aesthetic issue, or does it remove cues essential for digital instrument playing? If so, at which level is the interaction objectively impoverished? What are the effects on musical performance? In this survey article we illustrate our recent research about the use of vibrotactile feedback in three digital instrument interfaces, using tools that we developed over several years and made available to the community in open-source form. These interfaces span a wide range of familiarity and gestural opportunities, enabling us to explore the impact of haptic feedback on different types of digital instruments. We conducted experiments with professional musicians...
This chapter addresses the first building block of sonic interactions in virtual environments, i.... more This chapter addresses the first building block of sonic interactions in virtual environments, i.e., the modeling and synthesis of sound sources. Our main focus is on procedural approaches, which strive to gain recognition in commercial applications and in the overall sound design workflow, firmly grounded in the use of samples and event-based logics. Special emphasis is placed on physics-based sound synthesis methods and their potential for improved interactivity. The chapter starts with a discussion of the categories, functions, and affordances of sounds that we listen to and interact with in real and virtual environments. We then address perceptual and cognitive aspects, with the aim of emphasizing the relevance of sound source modeling with respect to the senses of presence and embodiment of a user in a virtual environment. Next, procedural approaches are presented and compared to sample-based approaches, in terms of models, methods, and computational costs. Finally, we analyze ...
<strong>BiVib</strong> is an extensive piano sample library consisting of <strong&... more <strong>BiVib</strong> is an extensive piano sample library consisting of <strong>bi</strong>naural sounds and keyboard <strong>vib</strong>ration signals.<br> Samples were acquired with high-quality audio and vibration measurement equipment on two Yamaha Disklavier pianos (one grand and one upright model) by means of computer-controlled playback of each key at ten different MIDI velocity values.<br> Project files (<em>instruments</em> and <em>multis</em>) are provided for use with the free software sampler Native Instruments Kontakt 5 Player (available for Windows and Mac OS).<br> The nominal specifications of the equipment used in the acquisition chain are reported in a companion document, allowing researchers to calculate physical quantities (e.g. acoustic pressure, vibration acceleration) from the recordings.<br> The library is especially suited for acoustic and vibration research on the piano, as well as for research on multimodal interaction with musical instruments.
<strong>BiVib</strong> is an extensive piano sample library consisting of <strong&... more <strong>BiVib</strong> is an extensive piano sample library consisting of <strong>bi</strong>naural sounds and keyboard <strong>vib</strong>ration signals.<br> Samples were acquired with high-quality audio and vibration measurement equipment on two Yamaha Disklavier pianos (one grand and one upright model) by means of computer-controlled playback of each key at ten different MIDI velocity values.<br> Project files (<em>instruments</em> and <em>multis</em>) are provided for use with the free software sampler Native Instruments Kontakt 5 Player (available for Windows and Mac OS).<br> The nominal specifications of the equipment used in the acquisition chain are reported in a companion document, allowing researchers to calculate physical quantities (e.g. acoustic pressure, vibration acceleration) from the recordings.<br> The library is especially suited for acoustic and vibration research on the piano, as well as for research on multimodal interaction with musical instruments.
Abstract. Viene presentato un lavoro di rielaborazione ed espansione di alcuni risultati del prog... more Abstract. Viene presentato un lavoro di rielaborazione ed espansione di alcuni risultati del progetto europeo SOb (The Sounding Object) [IST-2000-25287] il cui obiettivo è stato lo sviluppo di modelli fisici sonori per l'interazione. Alcuni di questi modelli sono stati implementati in un ...
Touch has a pivotal importance in determining the expressivity of musical performance for a numbe... more Touch has a pivotal importance in determining the expressivity of musical performance for a number of musical instruments. However, most digital musical devices provide no interactive force and/or vibratory feedback to the performer, thus depriving the somatosensory channel of a number of cues. Is the lack of haptic feedback only an aesthetic issue, or does it remove cues essential for digital instrument playing? If so, at which level is the interaction objectively impoverished? What are the effects on musical performance? In this survey article we illustrate our recent research about the use of vibrotactile feedback in three digital instrument interfaces, using tools that we developed over several years and made available to the community in open-source form. These interfaces span a wide range of familiarity and gestural opportunities, enabling us to explore the impact of haptic feedback on different types of digital instruments. We conducted experiments with professional musicians...
This chapter addresses the first building block of sonic interactions in virtual environments, i.... more This chapter addresses the first building block of sonic interactions in virtual environments, i.e., the modeling and synthesis of sound sources. Our main focus is on procedural approaches, which strive to gain recognition in commercial applications and in the overall sound design workflow, firmly grounded in the use of samples and event-based logics. Special emphasis is placed on physics-based sound synthesis methods and their potential for improved interactivity. The chapter starts with a discussion of the categories, functions, and affordances of sounds that we listen to and interact with in real and virtual environments. We then address perceptual and cognitive aspects, with the aim of emphasizing the relevance of sound source modeling with respect to the senses of presence and embodiment of a user in a virtual environment. Next, procedural approaches are presented and compared to sample-based approaches, in terms of models, methods, and computational costs. Finally, we analyze ...
<strong>BiVib</strong> is an extensive piano sample library consisting of <strong&... more <strong>BiVib</strong> is an extensive piano sample library consisting of <strong>bi</strong>naural sounds and keyboard <strong>vib</strong>ration signals.<br> Samples were acquired with high-quality audio and vibration measurement equipment on two Yamaha Disklavier pianos (one grand and one upright model) by means of computer-controlled playback of each key at ten different MIDI velocity values.<br> Project files (<em>instruments</em> and <em>multis</em>) are provided for use with the free software sampler Native Instruments Kontakt 5 Player (available for Windows and Mac OS).<br> The nominal specifications of the equipment used in the acquisition chain are reported in a companion document, allowing researchers to calculate physical quantities (e.g. acoustic pressure, vibration acceleration) from the recordings.<br> The library is especially suited for acoustic and vibration research on the piano, as well as for research on multimodal interaction with musical instruments.
We suggest that studies on active touch psychophysics are needed to inform the design of haptic m... more We suggest that studies on active touch psychophysics are needed to inform the design of haptic musical interfaces and better understand the relevance of haptic cues in musical performance. Following a review of the previous literature on vibrotactile perception in musical performance, two recent experiments are reported. The first experiment investigated how active finger-pressing forces affect vibration perception, finding significant effects of vibration type and force level on perceptual thresholds. Moreover, the measured thresholds were considerably lower than those reported in the literature, possibly due to the concurrent effect of large (unconstrained) finger contact areas, active pressing forces, and long-duration stimuli. The second experiment assessed the validity of these findings in a real musical context by studying the detection of vibrotactile cues at the keyboard of a grand and an upright piano. Sensitivity to key vibrations in fact not only was highest at the lower octaves and gradually decreased toward higher pitches; it was also significant for stimuli having spectral peaks of acceleration similar to those of the first experiment, i.e., below the standard sensitivity thresholds measured for sinusoidal vibrations under passive touch conditions.
While a standard approach is more or less established for rendering basic vibratory cues in consu... more While a standard approach is more or less established for rendering basic vibratory cues in consumer electronics, the implementation of advanced vibrotac-tile feedback still requires designers and engineers to solve a number of technical issues. Several off-the-shelf vibration actuators are currently available, having different characteristics and limitations that should be considered in the design process. We suggest an iterative approach to design in which vibrotactile interfaces are validated by testing their accuracy in rendering vibratory cues and in measuring input gestures. Several examples of prototype interfaces yielding audio-haptic feedback are described, ranging from open-ended devices to musical interfaces, addressing their design and the characterization of their vibratory output.
This chapter introduces to the concept of musical haptics, its scope, aims, challenges, as well a... more This chapter introduces to the concept of musical haptics, its scope, aims, challenges, as well as its relevance and impact for general haptics and human– computer interaction. A brief summary of subsequent chapters is given.
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