ALgorithms for the Modelling of Acoustic interactions

1 Introduction This report describes the final results of integrating virtual reality graphics, sound, and user interface technology with ALMA sound synthesis into a virtual instrument. In effect, the report summarizes months 9-33 of ALMA activities at the Telecommunications Software and The parameters of physical sound models can be altered while playing, which creates the need for controllers that meet the sound model complexity by input flexibility. Virtual reality input technology, such as data gloves and location/orientation trackers with gesture analysis, is one possibility to offer several degrees of freedom. We have been experimenting with virtual reality interfaces for control of physical sound models produced in the ALMA project. In the ALMA deliverable D13 [2], we proposed a specification for the communication between ALMA sound synthesis objects and their user interfaces, such as data gloves, motion trackers and MIDI keyboards. The updated version of D13 [2] also contains an extensive literature study of novel musical interfaces based on various input devices, and it concludes with guidelines for user interface related research within the context of ALMA. In the ALMA deliverable D14 [3], we presented the structure of the ALMA user interface system and described a few test implementations of interfaces. The document also described two important control message modules: the conversion module and the polyphony module. In this document, we will present a number of important issues related to control interface development as well as describe the final system implementation. We start off with a short introduction to the potential users of ALMA technology, and then summarize the technological platform in chapter 2. Chapter 3 discusses parameter mapping, the theory behind making efficient and intuitive interfaces for music. In chapter 4, we describe our work in creating various input methods for use in the mapping. Chapters 5-9 concentrate on reporting the results of each of our interface experiments and their evolution. Then, we present the results of published scientific articles from the human interaction model part of the ALMA project in chapter 10. Next, we discuss the possibilities and future developments regarding virtual instruments. As final words, chapter 12 presents guidelines for creating virtual instruments, based on our findings. Chapter 13 summarizes this report. As our experiments have progressed, we have come to identify two separate target audiences who would benefit from virtual instruments the most. The first, rather small group consists of professional musicians who are willing to experiment …