The FireFader is a simple haptic force-feedback device that is optimized for introducing musicians to haptics. It is based upon a single-degree-of-freedom potentiometer fader coupled to a DC motor, also known as a "motorized fader." A light is connected in parallel with the motor to help communicate the force's strength visually. The FireFader consists of only open-source hardware and open-source software elements. Consequently, it is relatively easy for users to repurpose it into new projects involving varying kinds and numbers of motors and sensors.An open-source device driver for the FireFader allows it to be linked to a computer via USB so that the computer can perform the feedback control calculations. For example, the computer can simulate the acoustics of a virtual musical instrument to concurrently synthesize sound and calculate the motor force as a function of the fader position. The serial connection over USB increases the latency of the control signal compared to embedded implementations, but the serial connection facilitates easier programming via the computer, and the force feedback can be automatically disabled when the user is not touching the fader. Some new devices derived from the FireFader design are presented.

The nature of human/instrument interaction is a long-standing area of study, drawing interest from fields as diverse as philosophy, cognitive sciences, anthropology, human-computer-interaction, or artistic creation. In particular, the case of the interaction between performer and musical instrument provides an enticing framework for studying the instrumental dynamics that allow for embodiment, skill acquisition and virtuosity with (electro-)acoustical instruments, and questioning how such notions may be transferred into the realm of digital music technologies and virtual instruments.This paper offers a study of concepts and technologies allowing for instrumental dynamics with Digital Musical Instruments, through an analysis of haptic-audio creation centred on a) theoretical and conceptual frameworks, b) technological components -namely physical modelling techniques for the design of virtual mechanical systems and force-feedback technologies allowing mechanical coupling with them, and c) a corpus of artistic works based on this approach. Through this retrospective, we argue that artistic works created in this field over the last 20 years -and those yet to come -may be of significant importance to the haptics community as new objects that question physicality, tangibility, and creativity from a fresh and rather singular angle. Following which, we discuss the convergence of efforts in this field, challenges still ahead, and the possible emergence of a new transdisciplinary community focused on multisensory digital art forms.

The aim of this chapter is to discuss a range of computer applications designed to enable people with disabilities to interact through music, dance, and the visual arts. A review of the main motion tracking algorithms and software environments is included as well as an overview of theoretical positions regarding the mapping of real time extracted motion features to sound, interactive music, and computer-generated or modified visual content. The chapter concludes with descriptions of how the concepts have been applied to research projects undertaken with different groups of young people with motor limitations and autism spectrum disorders.

Abstract. We present the results of an experimental study of Haptic Digital Audio Effects with and without force feedback. Participants experienced through a low cost Falcon haptic device two new real-time physical audio effect models we have developed under the CORDIS-ANIMA formalism. The results indicate that the haptic modality changed the user's experience significantly.

Conference: Acoustics'08 Paris (June 30 to July 4) - Musical Acoustics: Virtual Musical Instruments II (poster session 4pMUf)International audienceThe aim of this article is mainly to offer a link between the Digital Waveguide and the CORDIS-ANIMA physical modeling formalism. The first one is highly a modular lumped physical modeling and simulation system based on the mass-interaction paradigm while the second one offers accurate and efficient discrete time distributed models synthesized typically by delay lines and scattering junctions, in combination with digital filters. Both of them are widely developed and used in the domain of computer music field by scientists and artists. Although Digital Waveguide models have already been combined with Wave Digital Filters, they have never been exploited and integrated with CORDIS ANIMA networks. Wave Digital Filters are lumped models which are based on a scattering theoretic formulation which simplifies interfacing to Digital Waveguide models in contrast with the CORDIS ANIMA models. This research investigates the similarities of those formalisms, as well as focuses on the advantages of each modeling technique and proposes a real time computable interface between them. Moreover it results as well in a common convenient structural representation of their computational algorithms using signal processing block diagrams. These hybrid models were designed directly by their block diagrams, simulated and run in differ time using the Simulink software package of the matlab technical computing language