![]() ![]() Hand gestures to articulator parameters of a three-dimensional vocal tract model. Uses hand gestures to synthesize audiovisual speech and song by converting Principal researchers are Keith Hamel and Bob Pritchard. Presentation to synchronize the performers with the score. Pitch-tracking (both monophonic and polyphonic) and various modes of gesture following (accelerometers, movement sensors, video tracking etc.) can be used during a live multimedia IMuSE - Integrated Multimodal Score-following Environment - is a system built on both IIMPE and NoteAbilityPro which supports multiple simultaneous mechanisms for score-followingĪnd performance alignment. Remote messaging to MaxMSP and Pd, score following, and extended note specificiations. IIMPE - Integrated Interactive Music Performance Environment - consists of extensions to NoteAbilityPro designed to support interactive music performance. The Principal researcher and developer is Keith Hamel. NoteAbilityPro is a comprehensive music notation program running on PPC and Intel Macintosh computers. Researchers are Bob Pritchard and Sid Fels. GRASSP - Gesturally Realized Audio, Speech and Song Performance - is a speech synthesis system based on the work of Fels and Hinton's GloveTalk II, but refactored into Max/MSP. Jitter.PAL is a series of jitter video processing modules developed by graduate student David Storen. The bPatchers are designed to be useable by beginning programmers, but are also sophisticated enough to be used for professional concert work. Here’s a sequence I created using the Beep Master 9000.UBC Max/MSP/Jitter Toolbox is a collection of free Max/MSP/Jitter bPatchers written by Keith Hamel, Bob Pritchard, and Jacky Sawatzky. ![]() 4 times faster when multiplied by 0.25, twice as fast by 0.50, and so on). This causes the beats to change by divisions (i.e. ![]() The encapsulated sub-patch (”p rightMetro” amd “p leftMetro”) multiplies the frequency of each metro by 0.25, 0.50, 0.75, or 1 randomly. The number boxes allow the user to adjust how often the pitches are randomized in milliseconds. Below the bangs are a couple of smaller toggles that turn on metronomes that automate the randomization of the frequency for each cycle~ object. The large bangs to the right randomize the frequency when clicked. The large toggles in the upper left turn on and off each of the sine waves individually. I call it the Beep Master 9000 (press tongue firmly against cheek). “One of my recent class assignments led me to create a patch that automates the playback of a pair of microtonal tones with a frequency range of 200Hz to 1200Hz. ![]()
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