Perry R. Cook, Princeton University
My main work has been in two areas
These are actually really related, because once we have
a flexible, expressive, parametric algorithm for sound
synthesis, we want a controller. And once we have a
nifty new controller, we want better sound synthesis
algorithms to control. Other pages talk about synthesis.
This one talks about controllers.
- Synthesis Algorithms: Enhance our Palette of Sounds
- Controllers: Augment the Human Performer
Augmenting the Human Musical Performer
The Cook-Morrill Trumpet
with Dexter Morrill, Colgate University
We made a number of prototypes, including a valve-
trombone interface. (see below under Hirn Section for
prototype valve section with modifications ).
See papers on brass interfaces and
pitch detection with Morrill and Smith in my
I also worked some with
Ben Knapp on measuring
brass Lip-EMG (muscle tension) and using that for
The Hirn Wind Instrument Controller
Idea: Give as many degrees of freedom as possible to
a wind player, hook it up to various synthesis algorithms
including physical models of wind instruments.
Did it really look like that wonderful drawing?
Of course not. Here's prototype 1 really looked like,
along side it's friend from the Cook/Morrill Trumpet
project (see above).
See the "Meta-Wind Instrument ... and Controller"
paper from ICMC San Jose in my Publication List
Lots of Wacky Shaker
and Percussion Controllers
Idea: Things to shake, rub, grind, etc. for two purposes:
To control PhISM particle model synthesis
To steer interactive composition algorithms
Most Recent: The
by and with Dan Trueman