Tingle brings the acoustic touch and feel to the digital music controller.
Musicians like AC/DC could always use the natural expressiveness of their instrument to make a show amazing. However, the music instruments of today rely on sliders and knobs which means musicians are stuck to using fireworks to make a show exciting. With Tingle, we aim to bring back the expressive acoustic feeling for digital music making.
The pins in Tingle press back softly against your finger; like a piano key. And when enough pins are pressed, the body & pins vibrate with the sound; much like the body of a guitar when you strum it. And lastly, you can warp Tingle’s sound to your will by holding it at different angles for more gestural play!
What sound would your face make? Or a banana? Or… name it! If it has a shape then it makes music.Want.nl
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Digital Music Controller
Tingle is mostly used as a controller for Ableton’s software, where the position, depth, speed of application and size of a group of pins affects the sound you hear. Next to this, a tilt sensor is built in to create a ‘Whammy’ like effect.
All the sound creation options were available through a control software written in Max/MSP, but MIDI control allows Tingle to be used as a controller for almost anything.
Other control possibilities include Control Voltage (CV), MIDI Polyphonic Expression (MPE), Open Sound Control (OSC) and Sine Wave generation.
Concatenative Granular Synthesis
This video shows the application of a complex algorithm designed for Tingle by Diemo Schwarz of IRCAM. It takes a sound sample, breaks it up into tiny fragments and positions these across the square grid of pins. Each fragment is placed next to another fragment which has similar sound properties. The result is a natural transition of sound across the pin-instrument.
Why is this important?
Electronic music synthesis has been an important step in the evolution of music. Since it’s invention in the 1950’s, it has opened doors to previously impossible levels of sound-creation, and thereby transformed music to what it is now. The transition was rapid. So rapid in fact, that the tools we created to control the advanced computer softwares have had to rely on the physical interfaces we were using at the time to talk with computers; Dials, sliders and buttons.
Why is this important?
And over the years, this has largely stayed the same. Because of this we have lost the bending, hitting, shaking, sliding, vibrating and plucking that made traditional music instruments great! Coupled with sound, these traits were the very reasons that reminded you why you continued playing to this day!
Tingle was originally developed from a challenge; to rethink musical instruments for play & learning and the 21st century. Music has often been linked to students who are more successful in school. It teaches persistence towards results, it teaches discipline, it is self-expression and it leads to social benefits (bands, choirs, campfire playing etc). Unfortunately, many of the lower education schools do not give music lessons any more, as the value is not seen.
A side problem is that musical instruments have stayed the same for decades. Any explorations into new musical instruments either became run-offs on older instruments (piano-like instruments) or abstract art installations (footballs that create buzzy clicks when spun). With Tingle, the aim was to make a musical instrument of the 21st century that had a character to its own.
At last you may play music with your face ;) !Soundry
The original concept of Tingle was found during an exploration of synesthesia. What would it be like to be able to see sound? And then to make it more interesting, what if you could grab it and manipulate it physically so that a new sound existed?
Many ideas were sketched out, and 3 were selected for early trials. To test these with users, I took on the position as a music teacher of a lower education school and used the 3 concepts to probe for a final direction. From this the pin-art toy direction was chosen. It appealed most to the kids who we were trying to introduce music to, and it had the strongest link of action-to-sound because it looked like the sound visualizers on computers (but then physical).
From this, a technical prototype was built by programming image recognition software into a webcam that hung above a pin-art toy. This was later improved to work with a renewed form design (plectrum) which was easier to hold and allowed for more abstract sound mapping.
This model was not portable, because the webcam needed a unique set of circumstances and a table mount for it to function properly. To make this realistic for musicians, Tingle needed to be hand-held. To achieve this I experimented with research papers from varying disciplines to look for ways to embed the technology inside the Tingle. A collection of three different papers came together to make Tingles new technology, which is now patented.
The final steps made with Tingle have had to do with it’s commercialisation. Business plans, full aesthetic re-design, UI design for an interaction software, web-platform design for sharing your creations, and getting people excited about buying or funding Tingle’s development.