Byrne Thesis

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Brendan Byrne

Culminating Fall Thesis Paper

Tandefelt/Wolozin Sutdio F2014

November 29, 2014

COVERAGE - THESIS ABSTRACT: Theseus is a hobbyist electronics platform for designing modular digital interfaces andinstruments, specifically for musical and visual composition. The physical elements of Theseusare based heavily on the analog synthesizer Eurorack format which utilizes 3.5mm jacks and a

patch cable interface system for creating connections between modules. Unlike the Eurorackhowever, this platform is entirely digital and produces MIDI/OSC control messages rather thanaudio signals. This loss of fidelity greatly reduces the cost and simplifies the electronic circuitsthus making the patch cable systems available to an entirely new audience of designers,enthusiasts, and experimentalists. My thesis is to demonstrate the power of such a platformthrough creating a series of modules. These modules are intended to highlight what designs become possible when expenses drop and prototyping time is reduced.

CONTEXT - DOMAIN DIAGRAM:



have been produced in the past century from enthusiasts and multinational corporations alike.This research seeks to find devices that incorporate radically different functionality than their

predecessors without alienating the performers and composers accustomed to more traditionaltechniques. How do these approaches to music making balance expectations and conventionswith innovation to create something different yet familiar?

Intellijel Metropolis Eurorack Sequencer Demo:

Mylar Melodies's popular YouTube video describing the Metropolis Step Sequencer from theCanadian boutique synthesizer company, Intellijel, is an incredible story of how a slightdesign alteration by a DIY enthusiast was adopted by a major producer of electronic

instruments, and then met with great acclaim from the community.

The original designer, who goes by ryktnk on the muffwiffler.com forums, found inspirationfrom an eight-way switch he discovered while on a business trip to China. The part wasfundamental in creating a module that allowed for each step of a sequencer to be repeated basedon a set position. This switch also happened to take a very compact form, allowing it to meet thestrict size constraints of the a Eurorack module.



The key to this design is that it has taken something familiar and added a very small change that

immediately set it apart from its predecessors. I believe this was accomplished through thedesigner's explicit focus on creating a particular kind of sound when he made the modular. Hesought to create an instrument specifically for generating electro, a sub-genre of electronic dancemusic. It is difficult to perceive that an instrument would come after the establishment of a genrewhen it seems like it would be the other way around. But it is important to note that music andthe instruments that create it are linked together in this conversation with each reinforcing theother.

One final element of the video that I greatly appreciate is its execution and ability to tell a storyabout an instrument. I have shared it with many people who have no knowledge of synthesisand even they find themselves drawn in by the narration and the entrancing musical patternsgenerated by the device.

Making Programming Languages to Dance to: Live Coding with Tidal:

Alex McLean covers the details of Tidal, a live coding language he developed, but he alsospeaks generally about the live coding community of artists and composers that has grownrapidly in the past few years. In his writing it is apparent that McLean envisions his language being used by a general audience. Tidal is very easy to use and possesses several inlets thatdirectly appeal to musicians, composers, programmers, amateurs, creative coders, anddesigners. He also, interestingly, offers a cultural inlet through designing the rhythmicelement around an Indian perspective of musical cycles. This is done through the creation ofmultiple and simultaneous loops of differing time signatures. This kind of instant accessibilityto an entirely different to composition appeals greatly to anyone even remotely open-minded.



Windows machines before giving up and resorting to my Linux OS. The tools for using thelanguage are esoteric. McLean uses the functional programming language Haskell as the base

for his mini-language. He also employs Emacs as an interface, an almost half-century old texteditor. Finally, instead of using a GUI or traditional protocol like MIDI or OSC to route signals,he has linked the language to his own custom software that lacks a user interface.

Tidal is incredibly easy to use, brilliant, fun, full of potential for veteran programmers andcomposers, and solidifies live coding as a legitimate performing art, but it still has barriers. Itwould be great to see McLean make the platform more accessible to those who wish tomodify the programs he has created or see his concepts be applied to popular IDEs like

Processing for example.

Temporal Filtering: Framing Sonic Objects:In this paper, Barry Moon discusses a new technique and conceptual framework for samplingsonic content and recontextualizing it in real time. Unlike other instrument designers who focuson a sound they want to actualize, Moon has chosen an approach that I personally find moreinteresting. It is his preference to address the philosophical elements of sampling prior to the

aesthetic qualities. He talks about cataloging moments in an audio track through simpleamplitude analysis. Moon uses a granular synthesis technique to access the cataloged samples.He can use the sonic content of each sample as part of a lookup table to match an incomingsound to the most similar sample. In this way, he is able to resynthesize a sound. There existswonderful potential for new sounds.

Moon acknowledges more than a few times and in a somewhat downcast manner that much ofthe time his technique produces noise. The paper is highly technical despite his actual MaxMSP

patch being surprisingly straightforward. It stands in stark contrast with McLean's paper.Although Moon wrote it in the same academic and technical voice, he was determined to gethis message through to a wider audience.



CONTEXT - INFLUENCES:The Very First and Very Large Electronic Music Synthesizer

The Telharmonium is considered to be the first electronic musical synthesizer. In its final versionit weighed over 200 tons and was intended to act as the key instrument in a distributive musicnetwork over telephone lines. This was in the late 19th century before radio communication had been discovered (1898), refined, and institutionalized. I found this reference to be helpful in thatit not only marks the beginning of a domain I have focused upon, but also because it stands as anantithesis. The instrument is massive, expensive, utilizes a unique and interface based upon justintonation. It also represents an entirely closed system accessible only by its creator. Despite allthis, it was immensely popular.

Media Evolution and History

Although focused upon the use of videogames in journalism, a portion of the text covers theusage of the camera as it evolved due to technological advancement. At first the camera was anexperimental device. A photograph was evidence that photography worked. Later it came intouse as a documentary tool. It was still an expensive device and could only be used in idealenvironments. As it became cheaper, cameras began to be used for artistic practice. Now camerasare common part of most phones and can be used to take photos that serve a single purpose, areinfinitely replicable, and can be entirely disposable. Bogost imagines videogames following thesame path, imagining a world in which friends make games in a matter of minutes and send themto their friends or distribute publically to convey a single idea. I wonder if synthesis will followthe same route and how imagining a future in which modules are disposable or custom made forindividuals will guide the direction of my thesis.

Eurorack Modules by Gijs Gieskes:

Gijs Gieskes engages in an exposed electronics aesthetic. The synthesizer modules he creates aremounted to clear acrylic plates, revealing their inner workings. This is a popular look in theelectronics world and usually is not a larger statement. However, Gieskes creates playful andcritical modules using this format. Standard modules come packed with LEDs, rarefied language,



Extrapolation:

The experience of respondents is a bit striking. There is a wealth of knowledge and experience to

be found in my target audience and user base.

The majority of respondents are interested in directions not involving sound. This is interestingconsidering that synthesis is predominantly a sonic medium. This reinforces my assumption thata device used solely for controlling other devices could be well-received.

The data point on translation of data reveals that computer/analog rigs are somewhat onedirectional. This could be due to several reasons, not least of which may be the lack of hardware-

based controllers.

Although financial constraints are the main concern when purchasing gear, I was surprised to seethat about a third of respondents are free to purchase as they please. I suspected a much largernumber. When considering that musical equipment is quite expensive ($200 - $1,500 usually)this may be an indication that using affordability as a product’s main selling point may not be as

important as previously thought.

The number of responses concerning hacking, modifying, updating, and creating was very large.This is very exciting and affirms the open aspect of the project.

METHODOLOGY – MODULE DESIGN AND CONSTRUCTION PROCESS:

This report documents my experience building the first module, the problems encountered, andthe solution for lowering entry level skill requirements for the platform. It is essentially the firstusability test. I discovered quickly that the approach I had in mind, although plausible and withinmy skills, is not fast enough and requires very precise wiring skills. I was also able to gauge howlong it takes to construct a module. This is very important when considering a user ’s skill and patience levels.



For the firmware, I created a class that tracks interval time and uses a custom envelope fordetermining the brightness of the LED when it receives the signal to light. The numbers relating

to births per year have been hardcoded into the module. Future iterations (possibly from usersother than myself) may involve live data streams or an update for later years. Also, the neutrallabeling allows for the LEDs to represent things other than just births.

Build Process:The faceplate was created using a laser cutter and transparent 1/16” acrylic. The graphic seenabove was printed using no special techniques. The print was trimmed to size and then sprayadhesive used to affix it to the acrylic panel. 3.5mm jacks, a standard electronic component, and

3mm LEDs were mounted directly to the front panel.

Creating a more permanent circuit from the breadboard prototype proved to be much moredifficult than I imagined. The problem here is not the difficulty, but that it is essentially a painfuland slow experience that requires great concentration. This is all the more frustrating when youknow that a PCB could have easily been printed for a job like this.

I was reluctant to print boards for my thesis project as this can be costly and is almost exclusively

for batches, as the cost per board plummets as you get more of them. This case involves me onlyneeding one PCB per module, so printing didn't seem like the best route. The results can be seenin Fig. 5.



connected to the ISP (AVRMKII) and power bus. These pins became immediately useful. Theywill be included in all future designs and will certainly make the rest of my thesis much easier to

accomplish.

Fig. 6 AVRMKII Programmer, World Clock protoboard, and power bus.

Solution:

Printing a custom PCB for each module is not financially possible. I decided to use the same kind



Fig. 7 Modular electronic shield system for Theseus platform

Citations:

Atmel.com, (2014). AVRISP mkII. [online] Available at:http://www.atmel.com/tools/avrispmkii.aspx [Accessed 29 Nov. 2014].

Jacobs, E. (2012). ShiftPWM: the easiest software PWM library for Arduino. [online]ElcoJacobs.com. Available at: http://www.elcojacobs.com/shiftpwm/ [Accessed 29 Nov. 2014].

United Nations Children's Fund, (2013). Annual Number of Birthds. The State of the World’sChildren. [online] Available at: https://data.un.org/Data.aspx?d=SOWC&f=inID%3A75

[Accessed 29 Nov. 2014].

METHODOLOGY – MEASURING SUCCESSIn order to declare the Theseus platform for designing modular electronic interfaces and



SELF-EVALUATION :In terms of the time remaining before the final thesis presentations, I am feeling confident and

inspired. I have a list of modules long enough to keep me busy for an entire year. This is helpfulas I will be able to focus entirely on construction and composition during next semester.Additionally, the first construction process revealed much to me in terms of the amount of laborthe project requires. In response, I have placed an order for 70 PCBs which will form theelectronic base for all modules. I have also purchased all the parts I need to construct modules.This was a several month long process and was not easy. I have essentially taken care of theadministrative aspects of the project and intend to spend the Spring semester focused on creating.

Scale/Scope of Project:I do not doubt that by May I will have a project, presentation, and paper worthy of a graduatestudent thesis. However, I am still excited and worried by the prospect of where the project ends.I tell myself now, that even after school has ended I will most likely still develop modules for my personal use, but will this change? I am also concerned about the license of the project and the best way to present it to the public. Is the simplification great enough to be substantially differentthan what is already in place? I suppose at one point I would very much like to lose control overthe scope and have others develop on the platform.

Impetus:All preceding text should have answered this question, but the following clarification could nothurt. I have always wanted to use a massive patching system to compose. Patching systemscurrently available are too expensive. I have found my own way of achieving my desire throughthe Theseus platform. There are no doubt others in the world in a similar situation: fascinated byelectronic music yet unable to engage with it physically.

Strengths/Weaknesses:

The greatest weakness as of right now is the time to construct modules. I need to focus the platform to suit the needs of others and their abilities. This can only be done through extensive



Implementation Plan:

January Intensely focus on the overall design of the modules. Creating graphics seems to bethe most time intensive element of the project so far, but one I also consider critical.I also plan to solidify the arrangement of modules in the final version rather than blindly proceed from one module to the next. During January I plan also toconstruct the six modules I have already designed and programmed.

February Production. This will include not just modules, but also the software I plan to use in

conjunction with the Theseus interface I inevitably construct. I will also need to plan time to design the actual case the system will be held in. Additionally, this is probably the last month to get any large orders and PCB batches printed.

March I hope to use March as a time to user test. I plan to lend out the system in its currentform to a few electronic artists located in New York City to hear their reactions.This will be essentially in determining the direction the project will take following

graduation and how the project behaves as a product.

April April will be used exclusively for composing the performance I intend to present as part of the final thesis show. Also, I hope to handle the administrative aspects of thethesis project during this time.

May Freak out.



Screen-based (e.g. VST, DAWs, trackers) 23 22%

Hardware (e.g keyboards, synthesizers, electro-acoustic instruments) 28 26%

50/50 Mixture 54 51%

Do you work predominantly with screen-based tools or hardware?

If you use software in your rig, do you find yourself mostly sending controlmessages (OSC, MIDI, CV) from...



1 6 6%

2 8 8%

3 5 5%

4 5 5%

5 16 15%6 7 7%

7 14 13%

8 22 21%

9 5 5%

10 13 12%

1 11 10%

2 4 4%

3 22 21%

4 14 13%

5 13 12%

6 11 10%

7 9 8%

Assuming a trade-off between sound quality and affordability, you tendtowards...



Yes 70 66%

No 35 33%

Updated 40 38%

Modified (functionally) 64 60%

Modified (aesthetically) 35 33%

Created 57 54%

Have you ever updated, modified, or created instruments or tools?

Have you ever programmed in a text-based environment?



Yes 43 41%

No 61 58%

Number of daily responses



Timestamp How many years have y Which of the following di Do you work predomina If you use software in yo When working with scre Assuming a trade-off bet Are financial reasons yo Have you ever updated, Have you ever program Have you ever incorporated a program created in a text-based environment (e.g. Processing, openFrameworks, Csound) into your rig?

9/6/2014 12:44:15 Less than 1 Performance Screen-based (e.g. VST, Software to hardware 2 5 Yes Updated Yes Yes

9/6/2014 13:21:21 More than 10 Sequencing and Algorith 50/50 Mixture No software or no mess 2 5 No No No

9/6/2014 14:43:45 3-10 Performance Screen-based (e.g. VST, Hardware to software 10 6 Yes Modified (functionally), No Yes

9/6/2014 14:57:07 More than 10 Sonic Design 50/50 Mixture Software to hardware 2 8 Yes Updated, Modified (funct No No

9/6/2014 15:03:09 More than 10 noise / circuit bending / c 50/50 Mixture No software or no mess 2 10 Yes Modified (functionally), C No No

9/6/2014 15:04:23 3-10 software instrument desi Screen-based (e.g. VST, Hardware to software 5 3 No Created Yes Yes

9/6/2014 15:06:47 3-10 Sequencing and Algorith 50/50 Mixture No software or no mess 1 10 Yes Created Yes No

9/6/2014 15:17:38 1-3 Producing Screen-based (e.g. VST, Software to hardware 5 7 No Yes No

9/6/2014 15:18:01 3-10 Electronics Design Hardware (e.g keyboard Hardware to software 8 3 No Created Yes Yes

9/6/2014 15:18:51 3-10 Sequencing and Algorith Screen-based (e.g. VST, Software to hardware 7 6 Yes Created No No

9/6/2014 15:20:00 1-3 Electronics Design 50/50 Mixture Software to hardware 8 4 Yes Created Yes No

9/6/2014 15:20:19 3-10 Performance Screen-based (e.g. VST, Hardware to software 10 5 Yes Modified (functionally) Yes Yes

9/6/2014 15:28:28 More than 10 Performance 50/50 Mixture Hardware to software 8 6 Yes Created Yes No

9/6/2014 15:30:59 More than 10 Performance 50/50 Mixture Software to hardware 5 3 Yes Updated Yes Yes9/6/2014 15:32:25 3-10 Working with hardware li 50/50 Mixture Software to hardware 8 8 No Updated, Modified (funct Yes Yes

9/6/2014 15:33:45 3-10 Sonic Design 50/50 Mixture Software to hardware 5 7 Yes Modified (functionally) Yes No

9/6/2014 15:37:58 3-10 Interface Design (inputs Hardware (e.g keyboard No software or no mess 10 4 Yes Updated, Modified (funct Yes No

9/6/2014 15:45:47 1-3 Sequencing and Algorith 50/50 Mixture Software to hardware 7 3 Yes Updated, Modified (aest Yes No

9/6/2014 15:47:23 3-10 Sonic Design Hardware (e.g keyboard No software or no mess 5 1 No Modified (functionally) Yes Yes

9/6/2014 16:00:24 More than 10 Electronics Design Hardware (e.g keyboard S oftware to hardware 9 10 Yes Modified (functionally), C Yes Yes

9/6/2014 16:07:44 1-3 Interface Design (inputs Screen-based (e.g. VST, No software or no mess 8 5 Yes No No

9/6/2014 16:08:08 More than 10 Sonic Design Hardware (e.g keyboard N o software or no message exchange 1 No Modified (functionally) No No

9/6/2014 16:10:45 1-3 Performance Screen-based (e.g. VST, Software to hardware 5 3 Yes Modified (functionally), No No

9/6/2014 16:10:47 More than 10 Performance 50/50 Mixture Software to hardware 3 No Updated, Modified (funct Yes Yes

9/6/2014 16:16:02 1-3 Electronics Design Hardware (e.g keyboard Software to hardware 7 6 Yes Updated, Modified (funct No No

9/6/2014 16:23:23 3-10 Electronics Design Hardware (e.g keyboards, synthesizers, electro-ac 9 8 Yes Updated, Modified (funct Yes Yes

9/6/2014 16:28:04 More than 10 Sonic Design 50/50 Mixture Hardware to software 8 5 Yes No No

9/6/2014 16:30:50 M ore than 10 Compact Standard ( 5 Di Hardware (e.g keyboards, synthesizers, electro-ac 10 5 Y es Modified (functionally) No

9/6/2014 16:51:47 M ore than 10 Performance Hardware (e.g keyboards, synthesizers, electro-acoustic instruments) 4 N o Modified (functionally) No No

9/6/2014 17:04:03 More than 10 Electronics Design Hardware (e.g keyboard Software to hardware 5 1 No Updated, Modified (funct Yes Yes

9/6/2014 17:10:25 1-3 Sonic Design Hardware (e.g keyboard Hardware to software 8 3 Yes Created Yes Yes

9/6/2014 17:32:40 More than 10 Performance 50/50 Mixture Software to hardware 6 4 Yes Updated, Modified (funct No No

9/6/2014 17:57:17 More than 10 Cross-disciplinary Collab 50/50 Mixture Software to hardware 1 3 Yes Modified (functionally) Yes No

9/6/2014 18:44:16 3-10 Sonic Design 50/50 Mixture Software to hardware 6 3 No Modified (functionally), C Yes Yes

9/6/2014 19:12:42 1-3 Sonic Design Screen-based (e.g. VST, Software to hardware 7 8 Yes Updated, Modified (funct Yes No

9/6/2014 19:23:31 3-10 Electronics Design Hardware (e.g keyboard Software to hardware 5 3 Yes Updated, Modified (funct Yes Yes

9/6/2014 19:24:06 More than 10 Sequencing and Algorith 50/50 Mixture Software to hardware 4 1 Yes Modified (aesthetically) No No

9/6/2014 19:24:54 3-10 Composition Screen-based (e.g. VST, Hardware to software 2 8 Yes Created Yes No

9/6/2014 19:30:51 More than 10 Sequencing and Algorith 50/50 Mixture Hardware to software 4 1 Yes Updated, Modified (aest N o No

9/6/2014 19:45:14 More than 10 Sonic Design 50/50 Mixture Hardware to software 2 4 No Updated, Modified (funct Yes Yes

9/6/2014 19:54:59 More than 10 Performance 50/50 Mixture No software or no mess 5 4 Yes Updated, Modified (funct No No

9/6/2014 19:59:57 3-10 Sequencing and Algorith 50/50 Mixture Hardware to software 10 4 Yes Modified (functionally), Yes Yes

9/6/2014 20:13:07 More than 10 Interface Design (inputs Screen-based (e.g. VST, Software to hardware 2 8 No Modified (functionally), C Yes Yes

9/6/2014 22:25:17 More than 10 Performance 50/50 Mixture Software to hardware 6 7 Yes Updated, Modified (funct Yes No

9/6/2014 23:14:46 1-3 Interface Design (inputs 5 0/50 Mixture Hardware to software 10 5 Yes Modified (aesthetically) No No

9/6/2014 23:17:32 1-3 Sequencing and Algorith 50/50 Mixture Software to hardware 8 7 Yes Modified (functionally), C Yes No

9/6/2014 23:28:55 3-10 Sonic Design 50/50 Mixture Software to hardware 3 4 Yes Updated, Modified (funct Yes Yes

9/6/2014 23:30:42 1-3 Sonic Design 50/50 Mixture Hardware to software 3 7 Yes Modified (functionally), No No

9/6/2014 23:36:26 Less than 1 Cross-disciplinary Collab 50/50 Mixture No software or no mess 10 6 Yes Modified (functionally) No No

9/7/2014 1:42:33 3-10 Sonic Design 50/50 Mixture Software to hardware 8 1 Yes Created Yes Yes

9/7/2014 1:46:35 3-10 Sequencing and Algorith Screen-based (e.g. VST, Software to hardware 7 8 Yes Updated, Modified (funct Yes Yes

9/7/2014 1:56:03 3-10 Performance Screen-based (e.g. VST, Hardware to software 1 3 No Updated, Modified (funct No No

9/7/2014 2:03:08 3-10 Sequencing and Algorith 50/50 Mixture Hardware to software 5 4 Yes Modified (functionally) Yes No

9/7/2014 2:26:29 1-3 Sonic Design Screen-based (e.g. VST, Software to hardware 7 5 Yes No No

9/7/2014 2:35:52 1-3 Sequencing and Algorith 50/50 Mixture No software or no mess 10 5 Yes Updated Yes No9/7/2014 2:54:01 More than 10 Sonic Design Screen-based (e.g. VST, Hardware to software 5 3 No Modified (functionally) No No

9/7/2014 3:23:26 More than 10 Sequencing and Algorith Hardware (e.g keyboard N o software or no mess 7 1 No Updated, Modified (funct Yes No

9/7/2014 4:19:34 More than 10 Performance Hardware (e.g keyboard Software to hardware 9 6 No Updated, Modified (funct Yes Yes

9/7/2014 6:20:40 1-3 Sonic Design 50/50 Mixture Software to hardware 7 3 Yes Updated, Created Yes No

9/7/2014 6:53:57 3-10 Performance 50/50 Mixture Software to hardware 5 8 Yes Created Yes Yes

9/7/2014 10:20:46 3-10 Sequencing and Algorith Screen-based (e.g. VST, Software to hardware 8 5 No Modified (functionally), No No

9/7/2014 10:38:45 More than 10 Sonic Design 50/50 Mixture Software to hardware 8 2 Yes Modified (functionally), C Yes Yes

9/7/2014 12:21:38 3-10 Sonic Design Hardware (e.g keyboard No software or no mess 8 8 Yes Modified (functionally) Yes No

9/7/2014 12:31:54 3-10 Sequencing and Algorith Hardware (e.g keyboard Software to hardware 8 3 Yes Created Yes Yes

9/7/2014 14:30:58 3-10 Sonic Design 50/50 Mixture Software to hardware 10 1 No Modified (functionally), Yes Yes

9/7/2014 15:42:53 3-10 Interface Design (inputs S creen-based (e.g. VST, No software or no mess 3 8 No Created Yes Yes

9/7/2014 16:04:02 More than 10 Sequencing and Algorith 50/50 Mixture Software to hardware 10 6 Yes Created Yes Yes

9/7/2014 16:32:58 1-3 Sonic Design 50/50 Mixture Software to hardware 7 6 Yes Updated, Created No No

9/7/2014 18:09:12 Less than 1 Electronics Design 50/50 Mixture Hardware to software 9 4 Yes Updated, Modified (funct Yes No

9/7/2014 18:15:23 More than 10 Sonic Design Screen-based (e.g. VST, No software or no mess 1 8 No Created Yes Yes

9/7/2014 19:13:44 3-10 Performance 50/50 Mixture Software to hardware 4 5 Yes Modified (functionally), Yes No

9/7/2014 20:21:12 More than 10 Sequencing and Algorith Hardware (e.g keyboard No software or no mess 7 1 No Created Yes Yes

9/7/2014 22:53:09 More than 10 Electronics Design 50/50 Mixture Hardware to software 6 3 Yes Modified (functionally), C No No

9/7/2014 22:56:24 3-10 Performance Hardware (e.g keyboard No software or no mess 6 10 Yes Updated, Modified (funct No No

9/7/2014 23:13:49 3-10 Sonic Design Screen-based (e.g. VST, No software or no mess 3 3 No Modified (functionally), Yes No

9/8/2014 2:59:32 More than 10 Sequencing and Algorith Screen-based (e.g. VST, Hardware to software 5 9 Yes Updated Yes No

9/8/2014 4:31:51 3-10 Sequencing and Algorith 50/50 Mixture Software to hardware 5 4 Yes Updated, Modified (funct No Yes



Timestamp How many years have y Which of the following di Do you work predomina If you use software in yo When working with scre Assuming a trade-off bet Are financial reasons yo Have you ever updated, Have you ever program Have you ever incorporated a program created in a text-based environment (e.g. Processing, openFrameworks, Csound) into your rig?

9/8/2014 8:47:43 3-10 Sequencing and Algorith 50/50 Mixture Hardware to software 8 5 Yes Modified (functionally) Yes Yes

9/8/2014 14:19:56 3-10 Cross-disciplinary Collab Screen-based (e.g. VST, Software to hardware 1 8 Yes Modified (functionally), No No

9/8/2014 17:09:19 1-3 limitations Screen-based (e.g. VST, Hardware to software 1 10 No No No

9/8/2014 17:56:10 3-10 Sonic Design 50/50 Mixture Software to hardware 8 3 No Modified (functionally) Yes Yes

9/8/2014 17:59:45 More than 10 Sonic Design 50/50 Mixture Software to hardware 8 2 No Updated, Modified (funct No No

9/8/2014 18:12:21 More than 10 Interface Design (inputs Hardware (e.g keyboard N o software or no mess 8 3 No Modified (aesthetically), Yes Yes

9/8/2014 18:21:06 1-3 Sequencing and Algorith 50/50 Mixture Hardware to software 5 7 Yes Modified (aesthetically) No No

9/8/2014 18:28:03 3-10 Performance Hardware (e.g keyboard Hardware to software 7 8 No Updated, Modified (funct Yes Yes

9/8/2014 19:21:11 3-10 Electronics Design 50/50 Mixture No software or no mess 8 3 No Created No No

9/8/2014 20:17:01 More than 10 Electronics Design Hardware (e.g keyboard S oftware to hardware 10 4 Yes Updated, Modified (funct Yes Yes

9/8/2014 21:06:07 More than 10 Performance 50/50 Mixture Hardware to software 6 8 Yes Updated, Modified (funct No No

9/8/2014 22:26:37 3-10 Sonic Design 50/50 Mixture Software to hardware 8 4 No Modified (functionally), C Yes No

9/9/2014 0:18:51 3-10 Performance 50/50 Mixture Hardware to software 7 8 Yes Updated Yes No

9/9/2014 2:46:24 More than 10 Sequencing and Algorith 50/50 Mixture Software to hardware 8 6 Yes Modified (functionally) No No

9/9/2014 3:05:02 1-3 Sonic Design 50/50 Mixture Software to hardware 10 7 Yes Updated, Modified (funct Yes No9/9/2014 4:11:29 3-10 Cross-disciplinary Collab Hardware (e.g keyboard Hardware to software 7 7 Yes Updated, Modified (funct Yes Yes

9/9/2014 4:28:28 More than 10 Sonic Design 50/50 Mixture Software to hardware 6 5 Yes Created Yes Yes

9/10/2014 6:23:50 More than 10 Sequencing and Algorith Hardware (e.g keyboard Software to hardware 5 1 No Created Yes No

9/11/2014 9:50:09 3-10 Sonic Design 50/50 Mixture Software to hardware 8 4 Yes Created Yes Yes

9/11/2014 22:20:45 1-3 Sequencing and Algorith Hardware (e.g keyboard N o software or no message exchange 3 No Modified (functionally) No No

9/11/2014 22:38:19 3-10 Sonic Design 50/50 Mixture Software to hardware 3 3 Yes Updated, Modified (funct Yes No

9/11/2014 23:37:07 More than 10 Electronics Design 50/50 Mixture No software or no mess 2 3 Yes Modified (functionally) Yes No

9/13/2014 14:31:30 More than 10 Sonic Design Hardware (e.g keyboard No software or no mess 4 1 No Created No No

9/18/2014 6:43:42 1-3 Sonic Design Screen-based (e.g. VST, Hardware to software 7 6 Yes Modified (functionally) Yes Yes

9/22/2014 4:13:59 3-10 Performance Hardware (e.g keyboard No software or no mess 10 2 Yes Updated No No

10/3/2014 13:44:48 More than 10 Interface Design (inputs Hardware (e.g keyboard H ardware to software 9 2 No Updated, Modified (funct Yes Yes

11/1/2014 7:53:28 3-10 Performance Hardware (e.g keyboard Hardware to software 4 7 No Updated, Modified (funct Yes Yes

11/5/2014 5:06:14 1-3 Electronics Design 50/50 Mixture No software or no mess 8 6 Yes Created Yes Yes

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