Byrne Thesis

Brendan Byrne
Culminating Fall Thesis Paper

Tandefelt/Wolozin Sutdio F2014
November 29, 2014
COVERAGE - THESIS ABSTRACT:
Theseus is a hobbyist electronics platform for designing modular digital interfaces and
instruments, specifically for musical and visual composition. The physical elements of Theseus
are based heavily on the analog synthesizer Eurorack format which utilizes 3.5mm jacks and a
patch cable interface system for creating connections between modules. Unlike the Eurorack
however, this platform is entirely digital and produces MIDI/OSC control messages rather than
audio signals. This loss of fidelity greatly reduces the cost and simplifies the electronic circuits
thus making the patch cable systems available to an entirely new audience of designers,
enthusiasts, and experimentalists. My thesis is to demonstrate the power of such a platform
through creating a series of modules. These modules are intended to highlight what designs
become possible when expenses drop and prototyping time is reduced.
CONTEXT - DOMAIN DIAGRAM:
Fig. 1 Domain diagram for Theseus modular electronics platform

CONTEXT - DOMAIN STUDY:
This domain research paper will focus on questions relating to the discipline of electronic
musical instrument design and how to develop unique tools. Despite electronic music's public
perception as a relatively new invention, a countless number of experimental and strange devices
have been produced in the past century from enthusiasts and multinational corporations alike.
This research seeks to find devices that incorporate radically different functionality than their
predecessors without alienating the performers and composers accustomed to more traditional
techniques. How do these approaches to music making balance expectations and conventions
with innovation to create something different yet familiar?
Intellijel Metropolis Eurorack Sequencer Demo:
Mylar Melodies's popular YouTube video describing the Metropolis Step Sequencer from the
Canadian boutique synthesizer company, Intellijel, is an incredible story of how a slight
design alteration by a DIY enthusiast was adopted by a major producer of electronic
instruments, and then met with great acclaim from the community.
The original designer, who goes by ryktnk on the muffwiffler.com forums, found inspiration
from an eight-way switch he discovered while on a business trip to China. The part was
fundamental in creating a module that allowed for each step of a sequencer to be repeated based
on a set position. This switch also happened to take a very compact form, allowing it to meet the
strict size constraints of the a Eurorack module.
Fig. 2 Metropolis from Intellijel 2013

The design is fabulous and lends itself to tactile and real-time interaction, which is just now
becoming increasingly important in synthesizer design. Small changes can create drastically
new sounds while still maintaining the fundamental elements of the original pattern. The
eight-way switch can be seen in Fig. 2 as the middle row labeled PULSE COUNT.
The key to this design is that it has taken something familiar and added a very small change that
immediately set it apart from its predecessors. I believe this was accomplished through the
designer's explicit focus on creating a particular kind of sound when he made the modular. He
sought to create an instrument specifically for generating electro, a sub-genre of electronic dance
music. It is difficult to perceive that an instrument would come after the establishment of a genre
when it seems like it would be the other way around. But it is important to note that music and
the instruments that create it are linked together in this conversation with each reinforcing the
other.
One final element of the video that I greatly appreciate is its execution and ability to tell a story
about an instrument. I have shared it with many people who have no knowledge of synthesis
and even they find themselves drawn in by the narration and the entrancing musical patterns
generated by the device.
Making Programming Languages to Dance to: Live Coding with Tidal:
Alex McLean covers the details of Tidal, a live coding language he developed, but he also
speaks generally about the live coding community of artists and composers that has grown
rapidly in the past few years. In his writing it is apparent that McLean envisions his language
being used by a general audience. Tidal is very easy to use and possesses several inlets that
directly appeal to musicians, composers, programmers, amateurs, creative coders, and
designers. He also, interestingly, offers a cultural inlet through designing the rhythmic
element around an Indian perspective of musical cycles. This is done through the creation of
multiple and simultaneous loops of differing time signatures. This kind of instant accessibility
to an entirely different to composition appeals greatly to anyone even remotely open-minded.
Fig. 3 Tidal in Emacs text editor projected during live performance

However, Tidal does have a downside. I spent several hours attempting to install it on a
Windows machines before giving up and resorting to my Linux OS. The tools for using the
language are esoteric. McLean uses the functional programming language Haskell as the base
for his mini-language. He also employs Emacs as an interface, an almost half-century old text
editor. Finally, instead of using a GUI or traditional protocol like MIDI or OSC to route signals,
he has linked the language to his own custom software that lacks a user interface.
Tidal is incredibly easy to use, brilliant, fun, full of potential for veteran programmers and
composers, and solidifies live coding as a legitimate performing art, but it still has barriers. It
would be great to see McLean make the platform more accessible to those who wish to
modify the programs he has created or see his concepts be applied to popular IDEs like
Processing for example.
Temporal Filtering: Framing Sonic Objects:
In this paper, Barry Moon discusses a new technique and conceptual framework for sampling
sonic content and recontextualizing it in real time. Unlike other instrument designers who focus
on a sound they want to actualize, Moon has chosen an approach that I personally find more
interesting. It is his preference to address the philosophical elements of sampling prior to the
aesthetic qualities. He talks about cataloging moments in an audio track through simple
amplitude analysis. Moon uses a granular synthesis technique to access the cataloged samples.
He can use the sonic content of each sample as part of a lookup table to match an incoming
sound to the most similar sample. In this way, he is able to resynthesize a sound. There exists
wonderful potential for new sounds.
Moon acknowledges more than a few times and in a somewhat downcast manner that much of
the time his technique produces noise. The paper is highly technical despite his actual MaxMSP
patch being surprisingly straightforward. It stands in stark contrast with McLean's paper.
Although Moon wrote it in the same academic and technical voice, he was determined to get
his message through to a wider audience.
Citations:
Mclean, A. (2014). Making Programming Languages to Dance to: Live Coding with Tidal. In:
The 2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modeling and
Design. New York, NY: Association for Computing Machinery, pp.63-70.
Melodies, M. (2014). Intellijel Metropolis Eurorack Sequencer Demo. [online] YouTube.
Available at: https://www.youtube.com/watch?v=uV9-XA5MPwY [Accessed 12 Nov. 2014].
Moon, B. (2001). Temporal Filtering: Framing Sonic Objects. In: International Computer Music
Conference.
CONTEXT - INFLUENCES:
The Very First and Very Large Electronic Music Synthesizer
The Telharmonium is considered to be the first electronic musical synthesizer. In its final version
it weighed over 200 tons and was intended to act as the key instrument in a distributive music
network over telephone lines. This was in the late 19th century before radio communication had
been discovered (1898), refined, and institutionalized. I found this reference to be helpful in that
it not only marks the beginning of a domain I have focused upon, but also because it stands as an
antithesis. The instrument is massive, expensive, utilizes a unique and interface based upon just
intonation. It also represents an entirely closed system accessible only by its creator. Despite all
this, it was immensely popular.
Media Evolution and History
Although focused upon the use of videogames in journalism, a portion of the text covers the
usage of the camera as it evolved due to technological advancement. At first the camera was an
experimental device. A photograph was evidence that photography worked. Later it came into
use as a documentary tool. It was still an expensive device and could only be used in ideal
environments. As it became cheaper, cameras began to be used for artistic practice. Now cameras
are common part of most phones and can be used to take photos that serve a single purpose, are
infinitely replicable, and can be entirely disposable. Bogost imagines videogames following the
same path, imagining a world in which friends make games in a matter of minutes and send them
to their friends or distribute publically to convey a single idea. I wonder if synthesis will follow
the same route and how imagining a future in which modules are disposable or custom made for
individuals will guide the direction of my thesis.
Eurorack Modules by Gijs Gieskes:
Gijs Gieskes engages in an exposed electronics aesthetic. The synthesizer modules he creates are
mounted to clear acrylic plates, revealing their inner workings. This is a popular look in the
electronics world and usually is not a larger statement. However, Gieskes creates playful and
critical modules using this format. Standard modules come packed with LEDs, rarefied language,
and knobs that must be precisely controlled in order to produce output. In this case, labeling is
removed and the controls are often reduced to a single knob accompanied by 2-3 input and
output jacks. The module comes off appearing as junk as if it had been reclaimed from a scrap
pile. Gieskes plays with all these themes I take great interest in. He has negated the intimidating
nature of synthesizers through an aesthetic of cheapness.
Citations:
Bogost, Ian, Simon Ferrari, and Bobby Schweizer. Newsgames: Journalism at Play. Cambridge,
MA: MIT, 2010. Print.
Dewan, Brian. "Thaddeus Cahill's "Music Plant"" Cabinet 9 (2002): 41.
http://cabinetmagazine.org/issues/9/dewan.php
Giekes, Gijs. "EURORACK." EURORACK. N.p., n.d. Web. 29 Sept. 2014.
http://gieskes.nl/undefined/eurorack/
CONTEXT - AUDIENCE AND SETTING:

Theseus targets two main audiences, both of which take great interest in electronic music or
visualization, and a third audience based in consumption and collection.
The first audience is composed of individuals who are interested in the traditional patch cable
system as an interface for composition yet cannot afford an analog synthesizer. Currently, there
is no physical system that allows for patching that is not also an analog music or video
synthesizer. This is a demand that has gone unmet by current designers of instruments.
The other and more primary audience consists of amateur and enthusiast electronic artists with an
interest in music and visualization. Because there is currently no large demand for a system such
as Theseus, it will be used mostly by individuals who wish to design their own custom interfaces
that are in many ways personal reflections of their aesthetic and sonic tastes.
The third audience is composed of collectors and casual listeners. Much as cassette and vinyl
culture has found a resurgence in the past decade, I imagine the Theseus platform allowing
designers to create modules that are essentially completed compositions. Members of the third
audience are the same people who buy special edition albums and also collectors of craft items in
which a connected feeling with the items creator is derived from the purchase.
METHODOLOGY ELECTRONIC INSTRUMENT QUESTIONNAIRE:
This survey was directed at members of the electronic music community. The questions focused
upon the instruments they use for composing, financial constrains concerning the accumulation
of new tools, familiarity with text-based programming environments, the flow of their command
signals, and comfort level in modifying their tools or creating their own. The survey was
distributed to a list of 114 people who have purchased from my online storefront, posted on my
personal tumblr, and posted to the Muff Wiggler and Chipmusic.org forums. The survey also
found other vectors through reblogs and sharing on Twitter. As of November 29, 2014 there have
been 106 responses.
The results of the survey can be found in Appendix 1 of this document.
Discoveries:
80% of respondents have over three years of experience with electronic music and 40%
over ten years.
26% list Sonic Design as their main interest in electronic music. 22% selected
Sequencing.
50% of respondents use a 50/50 Mixture of computer-based and hardware-based
instruments/tools.
47% translate data signals from software-to-hardware.
Generally, respondents prefer hardware analogs for their digital tools.
64% of respondents state that financial concerns are their main reason in not purchasing
more tools.
Most respondents have updated, modified, or created their own music tools.
23% of respondents have programming knowledge, but havent applied it in a musical
context.
Extrapolation:
The experience of respondents is a bit striking. There is a wealth of knowledge and experience to
be found in my target audience and user base.
The majority of respondents are interested in directions not involving sound. This is interesting
considering that synthesis is predominantly a sonic medium. This reinforces my assumption that
a device used solely for controlling other devices could be well-received.
The data point on translation of data reveals that computer/analog rigs are somewhat one
directional. This could be due to several reasons, not least of which may be the lack of hardwarebased controllers.
Although financial constraints are the main concern when purchasing gear, I was surprised to see
that about a third of respondents are free to purchase as they please. I suspected a much larger
number. When considering that musical equipment is quite expensive ($200 - $1,500 usually)
this may be an indication that using affordability as a products main selling point may not be as
important as previously thought.
The number of responses concerning hacking, modifying, updating, and creating was very large.
This is very exciting and affirms the open aspect of the project.
METHODOLOGY MODULE DESIGN AND CONSTRUCTION PROCESS:
This report documents my experience building the first module, the problems encountered, and
the solution for lowering entry level skill requirements for the platform. It is essentially the first
usability test. I discovered quickly that the approach I had in mind, although plausible and within
my skills, is not fast enough and requires very precise wiring skills. I was also able to gauge how
long it takes to construct a module. This is very important when considering a users skill and
patience levels.
First Module The World Clock:
I have rather cheerfully named my first module the World Clock. It is very simple,
aesthetically pleasing, and unlike other modules currently on the market. LEDs have been placed
across a printed map of a world and blink intermittently. These blinks reflect the number of births
per year in the specific area of the LEDs location. This data was collected from a UN report
containing world birth information. The number of births per year per location were divided by
the number of milliseconds in a year to find the blinking interval. These steady tempos have
many musical applications and can be used to drive oscillators, clock sequencers, act as input for
logic gates, and trigger sounds.
Graphic and Interface Design:
Designing the graphics for a module is always a difficult process. I opted for a masked color
gradient to form the map, a plane yet authoritative typeface, and some stark white LEDs. Words
are backed by black allowing the white text to pop and differentiate the modules two areas of
data representation and interface. Jacks were placed at the bottom in no particular order. This is a
convenient location for most patch cables as the wiring does not obscure the panel information
and can be routed easily to other locations without a mess forming.
Fig. 4 World Clock graphic layout.

Electronics and Firmware:
I created a breadboard prototype a few months prior to this report to confirm not only that the
module would function properly, but also that the interval between blinks would work well for
music or visual creation. I had originally planned to create a death clock representing the
number of deaths from various causes, but quickly discovered that the intervals were just too
long.
This circuit is composed of the ATMEGA328P microcontroller and a 74HC595 shift register.
The microcontroller tells the shift register when to blink essentially. I used a clever library from
Elco Jacobs that allows for LED fading. I wanted to have the lights spark and then gradually
fade. Shift registers usually only allow for on/off LED states so this was a welcome tool.
For the firmware, I created a class that tracks interval time and uses a custom envelope for
determining the brightness of the LED when it receives the signal to light. The numbers relating
to births per year have been hardcoded into the module. Future iterations (possibly from users
other than myself) may involve live data streams or an update for later years. Also, the neutral
labeling allows for the LEDs to represent things other than just births.
Build Process:
The faceplate was created using a laser cutter and transparent 1/16 acrylic. The graphic seen
above was printed using no special techniques. The print was trimmed to size and then spray
adhesive used to affix it to the acrylic panel. 3.5mm jacks, a standard electronic component, and
3mm LEDs were mounted directly to the front panel.
Creating a more permanent circuit from the breadboard prototype proved to be much more
difficult than I imagined. The problem here is not the difficulty, but that it is essentially a painful
and slow experience that requires great concentration. This is all the more frustrating when you
know that a PCB could have easily been printed for a job like this.
I was reluctant to print boards for my thesis project as this can be costly and is almost exclusively
for batches, as the cost per board plummets as you get more of them. This case involves me only
needing one PCB per module, so printing didn't seem like the best route. The results can be seen
in Fig. 5.
Fig. 5 The front and back of the World Clock protoboard circuit
The back of the circuit is clearly indicative of what electronics hobbyists refer to as a rat's nest.
I was surprised at how much wiring there was to do. This is without a doubt the simplest module
I intend to create and this took about two hours to create. This time doesnt factor in the faceplate
wiring and creation.
Reflection:
Some extremely positive results were observed. I installed an ISP (in system programmer) port
that allows for the device to be reprogrammed without removing chips from the IC. Also, the two
connectors on the left and right will act as a power bus for the whole system. Modules will be
powered through these sets of pins and daisy chained. See Fig. 4 for an image of the board
connected to the ISP (AVRMKII) and power bus. These pins became immediately useful. They
will be included in all future designs and will certainly make the rest of my thesis much easier to
accomplish.
Fig. 6 AVRMKII Programmer, World Clock protoboard, and power bus.

Solution:
Printing a custom PCB for each module is not financially possible. I decided to use the same kind
of PCB to serve the same purpose for several different modules. I have designed a
modular/stackable PCB system similar to how shields work with Arduino. It will function
identically to that, but the main difference being that since my boards serve one specific function,
they are streamlined, much smaller, and very affordable.
The system has been broken down into six possible boards. These boards contain all the
functional parts of a Theseus module. Some control inputs and the others outputs. The
ATMEGA328 board will be used in all module layouts. Notice that this board has the power bus
connections and the ISP connection for reprogramming the module as needed.
ATMEGA328P Shield Contains the microcontroller. Tells other modules how to act.
Digi Pot Shield Can use up to six analog voltage outputs from 0-5v.
Shift Register Shield Can control up to 16 LEDs.
Multiplexer Shield Receive up to 16 analog inputs.
Small Digi Pot Shield Will be used for modules that only need one or two outputs.
Much more affordable than the larger Digi Pot Shield with the AD5206 chip.
LED Matrix Shield Control up to 64 LEDs using matrix logic.
Fig. 7 Modular electronic shield system for Theseus platform

Citations:
Atmel.com, (2014). AVRISP mkII. [online] Available at:
http://www.atmel.com/tools/avrispmkii.aspx [Accessed 29 Nov. 2014].
Jacobs, E. (2012). ShiftPWM: the easiest software PWM library for Arduino. [online]
ElcoJacobs.com. Available at: http://www.elcojacobs.com/shiftpwm/ [Accessed 29 Nov. 2014].
United Nations Children's Fund, (2013). Annual Number of Birthds. The State of the Worlds
Children. [online] Available at: https://data.un.org/Data.aspx?d=SOWC&f=inID%3A75
[Accessed 29 Nov. 2014].
METHODOLOGY MEASURING SUCCESS
In order to declare the Theseus platform for designing modular electronic interfaces and
instruments as successful, I have set three overlapping goals for the project.
1. I will use the platform to design modules. These modules will be act as an embodiment of
my personal tastes and also as an example of what the Theseus platform is capable of
producing.
2. To demonstrate that not only is it possible to create personalized modular interfaces, but
also that the modules designed using Theseus are legitimate tools for creative output, I
plan to perform using the system I have created. I draw personal inspiration from the
Berlin School of electronic music. This genre emphasizes sequences and patterns, long
filter sweeps, and alien sounds. This music lends itself to the modular format and I think
will best demonstrate the platforms strengths.
3. Finally, I plan to have at least one other case study in which someone other than myself
develops a modular using the Theseus platform. This user will likely be another student at
Parsons or an electronic music colleague/performer.
SELF-EVALUATION :
In terms of the time remaining before the final thesis presentations, I am feeling confident and
inspired. I have a list of modules long enough to keep me busy for an entire year. This is helpful
as I will be able to focus entirely on construction and composition during next semester.
Additionally, the first construction process revealed much to me in terms of the amount of labor
the project requires. In response, I have placed an order for 70 PCBs which will form the
electronic base for all modules. I have also purchased all the parts I need to construct modules.
This was a several month long process and was not easy. I have essentially taken care of the
administrative aspects of the project and intend to spend the Spring semester focused on creating.
Scale/Scope of Project:
I do not doubt that by May I will have a project, presentation, and paper worthy of a graduate
student thesis. However, I am still excited and worried by the prospect of where the project ends.
I tell myself now, that even after school has ended I will most likely still develop modules for my
personal use, but will this change? I am also concerned about the license of the project and the
best way to present it to the public. Is the simplification great enough to be substantially different
than what is already in place? I suppose at one point I would very much like to lose control over
the scope and have others develop on the platform.
Impetus:
All preceding text should have answered this question, but the following clarification could not
hurt. I have always wanted to use a massive patching system to compose. Patching systems
currently available are too expensive. I have found my own way of achieving my desire through
the Theseus platform. There are no doubt others in the world in a similar situation: fascinated by
electronic music yet unable to engage with it physically.
Strengths/Weaknesses:
The greatest weakness as of right now is the time to construct modules. I need to focus the
platform to suit the needs of others and their abilities. This can only be done through extensive
user testing. My audience is not general and relatively small consisting of a few thousand people.
However, while at Parsons I want to focus on the strengths of the project and emphasize those in
the project. Research can always be extended later. I will find myself in an endless iteration
cycle.
I find the greatest strength will be the visual impact of each modules graphic identity as well as
the overall effect a few hundred LEDs blinking.
Response to Feedback:
Because the project is so focused it is difficult to get good feedback from general critics.
However, motivation, inspiration, and another point of view are always welcomed. Much of the
time I feel I get contradictory feedback. If I propose the project just for myself, then the feedback
is to make it for a general audience. If I mention that it is for everyone, then the feedback is to
focus the direction.
Implementation Plan:
January
Intensely focus on the overall design of the modules. Creating graphics seems to be
the most time intensive element of the project so far, but one I also consider critical.
I also plan to solidify the arrangement of modules in the final version rather than
blindly proceed from one module to the next. During January I plan also to
construct the six modules I have already designed and programmed.
February
Production. This will include not just modules, but also the software I plan to use in
conjunction with the Theseus interface I inevitably construct. I will also need to
plan time to design the actual case the system will be held in. Additionally, this is
probably the last month to get any large orders and PCB batches printed.
March
I hope to use March as a time to user test. I plan to lend out the system in its current
form to a few electronic artists located in New York City to hear their reactions.
This will be essentially in determining the direction the project will take following
graduation and how the project behaves as a product.
April
April will be used exclusively for composing the performance I intend to present as
part of the final thesis show. Also, I hope to handle the administrative aspects of the
thesis project during this time.
May
Freak out.
byrnework@gmail.com
Editthisform
106responses
Viewallresponses
Summary
Howmanyyearshaveyouworkedwithelectronicmusic?
Lessthan1
3%
13
21
20%
310
42
40%
Morethan10
39
37%
Whichofthefollowingdirectionsinelectronicmusicinterestsyoumost?
SonicDesign
30
28%
SequencingandAlgorithmicComposition
23
22%
7%
21
20%
4%
13
12%
7%
InterfaceDesign(inputsandoutputs)
Performance
CrossdisciplinaryCollaboration
ElectronicsDesign
Other
Doyouworkpredominantlywithscreenbasedtoolsorhardware?
Screenbased(e.g.VST,DAWs,trackers)
23
22%
Hardware(e.gkeyboards,synthesizers,electroacousticinstruments)
28
26%
50/50Mixture
54
51%
Ifyouusesoftwareinyourrig,doyoufindyourselfmostlysendingcontrol
messages(OSC,MIDI,CV)from...
Softwaretohardware
49
46%
Hardwaretosoftware
29
27%
Nosoftwareornomessageexchange
24
23%
Whenworkingwithscreenbasedtools,howimportanttoyouisittohavea
physicalinterfacethatreplicatestheonscreencontrollers?
6%
8%
5%
5%
16
15%
7%
14
13%
22
21%
5%
10
13
12%
Assumingatradeoffbetweensoundqualityandaffordability,youtend
towards...
1
11
10%
4%
22
21%
14
13%
13
12%
11
10%
8%
15
14%
1%
10
5%
Arefinancialreasonsyourgreatestconstraintwhenconsideringanewpieceof
equipment?
Yes
70
66%
No
35
33%
Haveyoueverupdated,modified,orcreatedinstrumentsortools?
Updated
40
38%
Modified(functionally)
64
60%
Modified(aesthetically)
35
33%
Created
57
54%
Haveyoueverprogrammedinatextbasedenvironment?
Yes
68
64%
No
37
35%
Haveyoueverincorporatedaprogramcreatedinatextbasedenvironment
(e.g.Processing,openFrameworks,Csound)intoyourrig?
Numberofdailyresponses
Yes
43
41%
No
61
58%
Timestamp
How many years have y Which of the following di Do you work predomina If you use software in yo When working with scre Assuming a trade-off bet Are financial reasons yo Have you ever updated, Have you ever program Have you ever incorporated a program created in a text-based environment (e.g. Processing, openFrameworks, Csound) into your rig?
9/6/2014 12:44:15 Less than 1
Performance
9/6/2014 13:21:21 More than 10
Sequencing and Algorith 50/50 Mixture
Screen-based (e.g. VST, Software to hardware
5 Yes
5 No
9/6/2014 14:43:45 3-10
Performance
Screen-based (e.g. VST, Hardware to software
10
6 Yes
Modified (functionally),
9/6/2014 14:57:07 More than 10
Sonic Design
50/50 Mixture
Software to hardware
8 Yes
Updated, Modified (funct No
9/6/2014 15:03:09 More than 10
noise / circuit bending / c 50/50 Mixture
No
No software or no mess
10 Yes
Modified (functionally), C No
9/6/2014 15:04:23 3-10
software instrument desi Screen-based (e.g. VST, Hardware to software
9/6/2014 15:06:47 3-10
No
3 No
Created
Yes
Yes
10 Yes
Created
Yes
9/6/2014 15:17:38 1-3
Producing
7 No
No
Yes
9/6/2014 15:18:01 3-10
Electronics Design
Hardware (e.g keyboard Hardware to software
3 No
9/6/2014 15:18:51 3-10
Sequencing and Algorith Screen-based (e.g. VST, Software to hardware
6 Yes
No
Created
Yes
Yes
Created
No
9/6/2014 15:20:00 1-3
Electronics Design
50/50 Mixture
No
4 Yes
Created
Yes
9/6/2014 15:20:19 3-10
Performance
9/6/2014 15:28:28 More than 10
Performance
50/50 Mixture
Hardware to software
No
10
5 Yes
Modified (functionally)
Yes
Yes
6 Yes
Created
Yes
9/6/2014 15:30:59 More than 10
Performance
50/50 Mixture
No
3 Yes
Updated
Yes
9/6/2014 15:32:25 3-10
Yes
Working with hardware li 50/50 Mixture
8 No
Updated, Modified (funct Yes
Yes
9/6/2014 15:33:45 3-10
Sonic Design
9/6/2014 15:37:58 3-10
Interface Design (inputs Hardware (e.g keyboard No software or no mess
9/6/2014 15:45:47 1-3
9/6/2014 15:47:23 3-10
Sonic Design
Hardware (e.g keyboard No software or no mess
9/6/2014 16:00:24 More than 10
Electronics Design
Hardware (e.g keyboard Software to hardware
9/6/2014 16:07:44 1-3
Interface Design (inputs Screen-based (e.g. VST, No software or no mess
9/6/2014 16:08:08 More than 10
Sonic Design
Hardware (e.g keyboard No software or no message exchange
9/6/2014 16:10:45 1-3
Performance
9/6/2014 16:10:47 More than 10
Performance
50/50 Mixture
9/6/2014 16:16:02 1-3
Electronics Design
9/6/2014 16:23:23 3-10
Electronics Design
Hardware (e.g keyboards, synthesizers, electro-ac
9/6/2014 16:28:04 More than 10
Sonic Design
50/50 Mixture
9/6/2014 16:30:50 More than 10
Compact Standard ( 5 Di Hardware (e.g keyboards, synthesizers, electro-ac
9/6/2014 16:51:47 More than 10
Performance
Hardware (e.g keyboards, synthesizers, electro-acoustic instruments)
9/6/2014 17:04:03 More than 10
Electronics Design
9/6/2014 17:10:25 1-3
Sonic Design
9/6/2014 17:32:40 More than 10
Performance
50/50 Mixture
9/6/2014 17:57:17 More than 10
Cross-disciplinary Collab 50/50 Mixture
9/6/2014 18:44:16 3-10
Sonic Design
50/50 Mixture
9/6/2014 19:12:42 1-3

9/6/2014 19:23:31 3-10
9/6/2014 19:24:06 More than 10
9/6/2014 19:24:54 3-10
Composition
9/6/2014 19:30:51 More than 10
9/6/2014 19:45:14 More than 10
Sonic Design
50/50 Mixture
9/6/2014 19:54:59 More than 10
Performance
50/50 Mixture
9/6/2014 19:59:57 3-10
9/6/2014 20:13:07 More than 10

9/6/2014 22:25:17 More than 10
Performance
50/50 Mixture
9/6/2014 23:14:46 1-3

9/6/2014 23:17:32 1-3
50/50 Mixture
Updated
Yes
Yes
No
No
No
Yes
7 Yes
Yes
No
10
4 Yes
No
3 Yes
Updated, Modified (aest Yes
No
1 No
Yes
Yes
10 Yes
Modified (functionally), C Yes
Yes
5 Yes
No
No
1 No
No
No
3 Yes
No
No
3 No
Yes
6 Yes
No
8 Yes
Yes
5 Yes
10
5 Yes
No
4 No
No
1 No
Yes
3 Yes
Created
Yes
4 Yes
No
3 Yes
No
3 No
Yes
Sonic Design
8 Yes
No
Electronics Design
3 Yes
Yes
1 Yes
Modified (aesthetically)
No
No
8 Yes
Created
Yes
No
1 Yes
Updated, Modified (aest No
No
4 No
Yes
4 Yes
No
10
4 Yes
Yes
Yes
Interface Design (inputs Screen-based (e.g. VST, Software to hardware
8 No
Yes
7 Yes
No
Interface Design (inputs 50/50 Mixture
10
5 Yes
No
7 Yes
No
9/6/2014 23:28:55 3-10
Sonic Design
50/50 Mixture
4 Yes
Yes
9/6/2014 23:30:42 1-3
Sonic Design
50/50 Mixture
7 Yes
No
No
9/6/2014 23:36:26 Less than 1
No
Yes
Yes
No
No
No
Cross-disciplinary Collab 50/50 Mixture
10
6 Yes
No
No
9/7/2014 1:42:33 3-10
Sonic Design
1 Yes
Created
Yes
Yes
9/7/2014 1:46:35 3-10
8 Yes
Yes
9/7/2014 1:56:03 3-10
Performance
9/7/2014 2:03:08 3-10
9/7/2014 2:26:29 1-3
Sonic Design
9/7/2014 2:35:52 1-3
9/7/2014 2:54:01 More than 10
Sonic Design
9/7/2014 3:23:26 More than 10
50/50 Mixture
3 No
No
4 Yes
Yes
No
5 Yes
No
No
10
5 Yes
Updated
Yes
No
3 No
No
No
Sequencing and Algorith Hardware (e.g keyboard No software or no mess
1 No
No
9/7/2014 4:19:34 More than 10
Performance
6 No
Yes
9/7/2014 6:20:40 1-3
Sonic Design
50/50 Mixture
3 Yes
Updated, Created
Yes
No
9/7/2014 6:53:57 3-10
Performance
50/50 Mixture
8 Yes
Created
Yes
Yes
9/7/2014 10:20:46 3-10
5 No
No
No
9/7/2014 10:38:45 More than 10
Sonic Design
50/50 Mixture
2 Yes
Yes
9/7/2014 12:21:38 3-10
Sonic Design
8 Yes
Yes
No
9/7/2014 12:31:54 3-10
Sequencing and Algorith Hardware (e.g keyboard Software to hardware
3 Yes
Created
Yes
Yes
9/7/2014 14:30:58 3-10
Sonic Design
10
1 No
Yes
Yes
9/7/2014 15:42:53 3-10
Interface Design (inputs Screen-based (e.g. VST, No software or no mess
8 No
Created
Yes
Yes
9/7/2014 16:04:02 More than 10
10
6 Yes
Created
Yes
Yes
9/7/2014 16:32:58 1-3
Sonic Design
50/50 Mixture
6 Yes
Updated, Created
No
No
9/7/2014 18:09:12 Less than 1
Electronics Design
50/50 Mixture
4 Yes
No
9/7/2014 18:15:23 More than 10
Sonic Design
Screen-based (e.g. VST, No software or no mess
8 No
Created
Yes
Yes
9/7/2014 19:13:44 3-10
Performance
50/50 Mixture
5 Yes
Yes
No
9/7/2014 20:21:12 More than 10
Sequencing and Algorith Hardware (e.g keyboard No software or no mess
1 No
Created
Yes
Yes
9/7/2014 22:53:09 More than 10
Electronics Design
50/50 Mixture
3 Yes
Modified (functionally), C No
No
9/7/2014 22:56:24 3-10
Performance
10 Yes
No
9/7/2014 23:13:49 3-10
Sonic Design
Screen-based (e.g. VST, No software or no mess
50/50 Mixture
3 No
Yes
No
9/8/2014 2:59:32 More than 10
Sequencing and Algorith Screen-based (e.g. VST, Hardware to software
9 Yes
Updated
Yes
No
9/8/2014 4:31:51 3-10
4 Yes
Yes
Timestamp
How many years have y Which of the following di Do you work predomina If you use software in yo When working with scre Assuming a trade-off bet Are financial reasons yo Have you ever updated, Have you ever program Have you ever incorporated a program created in a text-based environment (e.g. Processing, openFrameworks, Csound) into your rig?
5 Yes
Yes
Yes
9/8/2014 14:19:56 3-10
9/8/2014 8:47:43 3-10
Cross-disciplinary Collab Screen-based (e.g. VST, Software to hardware
8 Yes
No
No
9/8/2014 17:09:19 1-3
limitations
10 No
No
No
9/8/2014 17:56:10 3-10
Sonic Design
50/50 Mixture
3 No
Yes
Yes
9/8/2014 17:59:45 More than 10
Sonic Design
50/50 Mixture
2 No
No
9/8/2014 18:12:21 More than 10
Interface Design (inputs Hardware (e.g keyboard No software or no mess
3 No
Modified (aesthetically), Yes
Yes
9/8/2014 18:21:06 1-3
7 Yes
No
9/8/2014 18:28:03 3-10
Performance
8 No
Yes
9/8/2014 19:21:11 3-10
Electronics Design
50/50 Mixture
3 No
Created
No
9/8/2014 20:17:01 More than 10
Electronics Design
10
4 Yes
Yes
9/8/2014 21:06:07 More than 10
Performance
50/50 Mixture
8 Yes
No
9/8/2014 22:26:37 3-10
Sonic Design
50/50 Mixture
4 No
No
9/9/2014 0:18:51 3-10
Performance
50/50 Mixture
8 Yes
Updated
Yes
No
9/9/2014 2:46:24 More than 10
6 Yes
No
No
9/9/2014 3:05:02 1-3
Sonic Design
10
7 Yes
No
9/9/2014 4:11:29 3-10
Cross-disciplinary Collab Hardware (e.g keyboard Hardware to software
7 Yes
Yes
9/9/2014 4:28:28 More than 10
Sonic Design
50/50 Mixture
50/50 Mixture
No
No
5 Yes
Created
Yes
Yes
9/10/2014 6:23:50 More than 10
Sequencing and Algorith Hardware (e.g keyboard Software to hardware
1 No
Created
Yes
No
9/11/2014 9:50:09 3-10
Sonic Design
4 Yes
Created
Yes
Yes
No
No
50/50 Mixture
9/11/2014 22:20:45 1-3
Sequencing and Algorith Hardware (e.g keyboard No software or no message exchange
3 No
9/11/2014 22:38:19 3-10
Sonic Design
50/50 Mixture
3 Yes
No
9/11/2014 23:37:07 More than 10
Electronics Design
50/50 Mixture
3 Yes
Yes
No
9/13/2014 14:31:30 More than 10
Sonic Design
1 No
Created
No
No
9/18/2014 6:43:42 1-3
Sonic Design
9/22/2014 4:13:59 3-10
Performance
6 Yes
Yes
Yes
10
2 Yes
Updated
No
No
Interface Design (inputs Hardware (e.g keyboard Hardware to software
2 No
Yes
11/1/2014 7:53:28 3-10
Performance
7 No
Yes
11/5/2014 5:06:14 1-3
Electronics Design
50/50 Mixture
6 Yes
Created
Yes
10/3/2014 13:44:48 More than 10
Yes

Byrne Thesis

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Byrne Thesis

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Brendan Byrne

Culminating Fall Thesis Paper

Fig. 1 Domain diagram for Theseus modular electronics platform

Fig. 2 Metropolis from Intellijel 2013

Fig. 3 Tidal in Emacs text editor projected during live performance

CONTEXT - AUDIENCE AND SETTING:

Fig. 4 World Clock graphic layout.

Fig. 6 AVRMKII Programmer, World Clock protoboard, and power bus.

Fig. 7 Modular electronic shield system for Theseus platform

9/6/2014 12:44:15 Less than 1

9/6/2014 13:21:21 More than 10

Sequencing and Algorith 50/50 Mixture

Screen-based (e.g. VST, Software to hardware

9/6/2014 14:43:45 3-10

Screen-based (e.g. VST, Hardware to software

9/6/2014 14:57:07 More than 10

Updated, Modified (funct No

9/6/2014 15:03:09 More than 10

noise / circuit bending / c 50/50 Mixture

9/6/2014 15:04:23 3-10

software instrument desi Screen-based (e.g. VST, Hardware to software

9/6/2014 15:06:47 3-10

Sequencing and Algorith 50/50 Mixture

9/6/2014 15:17:38 1-3

Screen-based (e.g. VST, Software to hardware

9/6/2014 15:18:01 3-10

Hardware (e.g keyboard Hardware to software

9/6/2014 15:18:51 3-10

Sequencing and Algorith Screen-based (e.g. VST, Software to hardware

9/6/2014 15:20:00 1-3

9/6/2014 15:20:19 3-10

Screen-based (e.g. VST, Hardware to software

9/6/2014 15:28:28 More than 10

9/6/2014 15:30:59 More than 10

9/6/2014 15:32:25 3-10

Working with hardware li 50/50 Mixture

Updated, Modified (funct Yes

9/6/2014 15:33:45 3-10

9/6/2014 15:37:58 3-10

Interface Design (inputs Hardware (e.g keyboard No software or no mess

9/6/2014 15:45:47 1-3

Sequencing and Algorith 50/50 Mixture

9/6/2014 15:47:23 3-10

Hardware (e.g keyboard No software or no mess

9/6/2014 16:00:24 More than 10

Hardware (e.g keyboard Software to hardware

9/6/2014 16:07:44 1-3

Interface Design (inputs Screen-based (e.g. VST, No software or no mess

9/6/2014 16:08:08 More than 10

Hardware (e.g keyboard No software or no message exchange

9/6/2014 16:10:45 1-3

Screen-based (e.g. VST, Software to hardware

9/6/2014 16:10:47 More than 10

9/6/2014 16:16:02 1-3

Hardware (e.g keyboard Software to hardware

9/6/2014 16:23:23 3-10

Hardware (e.g keyboards, synthesizers, electro-ac

9/6/2014 16:28:04 More than 10

9/6/2014 16:30:50 More than 10

Compact Standard ( 5 Di Hardware (e.g keyboards, synthesizers, electro-ac

9/6/2014 16:51:47 More than 10

Hardware (e.g keyboards, synthesizers, electro-acoustic instruments)

9/6/2014 17:04:03 More than 10

Hardware (e.g keyboard Software to hardware