On 5/5/13 3:37 PM, Marc Lavallée wrote:
Been there, done that too (between 1990 and 2001). Using light beams,
infrared distance sensors, motion detection with cameras, even
microphones as accelerometers... They were more theatrical
than musical devices. Triggering events and sequences was the only way
to be "musical".
Another idea: I would like to use my Kinect for head tracking to check
if a listener's head is outside the "ambisonic sweet spot", or to adjust
the decoding parameters according to the head position.
you may check the software by gabriele fanelli for kinect head tracking,
which i extended with osc: https://github.com/kronihias/head-pose-estimation
but you have to look more or less in the direction of the kinect sensor.
maybe using the skeleton tracking of openni is a better solution for
that. it gives you a joint for the user's head
Marc
Dave Malham <dave.mal...@york.ac.uk> a écrit :
Been there, done that - albeit with other sensing technologies like
the earlier Polyhemus Tracker. Then, of course, there was Jacques
Poulin's Potentiometre d'Espace which was used to project
Schaeffer's musique concrete into space back in the early 50's - and
even I am too young to have actually heard that! What I have found
is that the movement of sounds (particularly in towards the centre)
just based on sonic perception - i.e. without any visual feedback -
is very difficult to control properly because muscle memory is not
good enough without a lot of rehearsal.
Dave
On 5 May 2013 02:57, Iain Mott <m...@reverberant.com> wrote:
Em Sáb, 2013-05-04 às 17:46 -0400, Matthew Palmer escreveu:
http://vimeo.com/65229978#at=5
imagine using the oculus & a kinect to be able to assign 3
directional information to sounds to make music, virtual speakers
corresponding to
real
ones, hand is a brush
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