Drum Pads Research Articles

A Touch on Musical Innovation: Exploring Wearables and Their Impact on New Interfaces for Musical Expression.

This paper explores the innovative concept of using wearable technologies as a medium for musical expression. Special emphasis is placed on a unique wearable device equipped with motion, touch, and acceleration sensors, which can be used as a wrist strap, hand strap, or surface drum pad. The aim is to create a new musical instrument that simplifies music learning and expression and makes them more intuitive. The wearable device contains 32 individual touch-sensitive pressure sensors, a nine-axis inertial-measurement-unit motion sensor, and various light-emitting diode and vibrational haptic-feedback components. The inclusion of tactile and intuitive features in the wearable device enhances the musical experience of users by enabling engaging interaction. Consequently, it is believed that this groundbreaking technology has significant potential to contribute to the field of music, providing musicians with a versatile and intuitive instrument that facilitates their creative expression.

Penggunaan Sensor Piezoelektrik sebagai Pad Trigger Rebana Untuk Menunjang Dinamika Ketukan

Rebana is valuable cultural heritage and contain religious values. Along with the development of technology, a new innovation emerged in rebana, namely playing tambourines using drum pad triggers. The use of drum Pad Trigger in tambourine games makes it easier for tambourine players. This study aims to (1) design and make a trigger pad, (2) produce a tambourine Pad Trigger using a Piezoelectric sensor so as to produce tambourine beat dynamics, and (3) find out the test results of the Piezoelectric sensor to reduce noise. Method: The research method used is a research and development model. The steps that will be taken are to make observations about the use of Piezoelectric sensors on a drum and bonang musical instrument which is tested to be applied to tambourine musical instruments. In the process, researchers combined several inputs from similar previous studies to be developed into a tambourine Pad Trigger product to be useful for its target. This research will result in findings related to the use of Piezoelectric sensors in tambourine innovations; Knowing the results of quality testing of tambourine tool development. Conclusion: The results proved that the Piezoelectric sensor on the tambourine Trigger Pad uses Arduino nano as a microcontroller and microSD adapter as a storage of sound samples worth playing like the use of conventional tambourines and can produce the same sound as the original tambourine. The use of Piezoelectric sensors on the tambourine Trigger Pad can reduce noise from outside. Piezoelectric sensors can also bring out dynamics in tambourine games evidenced by good output values in the microcontroller.

Design of Midi Drum Controller Using Piezoelectric and Arduino-Based TCRT5000 Sensor to Facilitate Sound Engineer Performance in the Music Industry

This study discusses the Midi Drum Controller using the Arduino Mega which has many analog pins making it suitable for producing complete drum pads as well as piezoelectricity which is used to detect vibrations when the drum pad is beaten, as well as the Tcrt5000 sensor which is used to control the hi-hat so that it can move. from the sound of an open hi-hat to a closed hi-hat. The results of this study indicate that piezoelectricity can detect vibrations and dynamics of strong and weak drum beats and send the game to midi-based virtual drum applications. The Tcrt5000 sensor used can also work well, judging by the sound it produces and the data sent when the Tcrt5000 sensor is on and off.

A rhythm-aware serious game for social interaction

Making music with others is both an artistic act and a social activity. Music therapists can leverage the social aspects of music to increase the well-being of their patients by interacting with them musically, improvising rhythms and melodies together on shared musical instruments. This activity requires highly trained professionals and is therefore expensive for the clients. We propose a serious game that can help people without musical training interact by collaboratively creating a rhythm using MIDI drum pads. The gaming system analyzes the rhythm in real-time and adds musical feedback that is synchronized to what the users play, enhancing the aesthetical experience that is crucial to the musical interaction and its therapeutic effects. We assessed our system through quantitative metrics showing its capability of following a user-established tempo. Test players also completed a questionnaire, which showed they found the experience pleasant and engaging, and that the musical augmentation was helpful to their interaction.

Tiny, Tiny Copyright: An Examination of the Copyrightability of Sampler Instruments and Its Impact on Derivative Works

Tiny, Tiny Copyright: An Examination of the Copyrightability of Sampler Instruments and Its Impact on Derivative Works

Tiny, Tiny Copyright: An Examination of the Copyrightability of Sampler Instruments and its Impact on Derivative Works

Trade secret and contract law are inadequate remedies for protecting recordings of single notes created without an underlying composition for use in digital instruments such as keyboards, drum pads, and digital audio workstations. These recordings should be afforded the same rights under copyright law as any other sound recordings. Selection and arrangement of such sounds to facilitate the playing of specific compositions (i.e. programming) should be considered copyrightable as a compilation because the selection and arrangement involve professional judgement that satisfies the originality requirement under copyright law. The closest case on point for the use of individual notes, VMG Salsoul v. Ciccone 824 F.3d 871 (9th Cir. 2016) and its progeny fundamentally misunderstand the marketplace for samples, placing unwarranted weight on the value of compositions as opposed to sound recordings. Any derivative works such as custom programming or recordings of compositions using samples of individual notes would likely be found to be fair use or permitted through implied license. Nevertheless, copyright protections would allow those whose digital files were stolen and disseminated beyond those with whom they are in privity of contract to recover damages against all infringers.

Batteryless wireless transmission system for electronic drum uses piezoelectric generator for play signal and power source

A batteryless self-powered wireless transmission system has been developed that sends a signal from a drum pad to a synthesizer. The power generated by a piezoelectric generator functions both as the “Play” signal for the synthesizer and as the power source for the transmitter. An FM transmitter, which theoretically operates with zero latency, and a receiver with quick-response squelch of the received signal were developed for wireless transmission with a minimum system delay. Experimental results for an electronic drum without any connecting wires fully demonstrated the feasibility of self-powered wireless transmission with a latency of 900 μs.

Movement Enhances Perceived Timing in the Absence of Auditory Feedback

Moving (tapping) to a beat can objectively improve the perception of timing. Here we examine whether auditory feedback from tapping is a requirement for this improvement. In this experiment, two groups of participants heard a series of isochronous beats, and identified whether a probe tone after a short silence was consistent with the timing of the preceding sequence. On half of the trials, participants tapped along on an electronic drum pad up to and including the probe tone, and on half of the trials they listened without tapping. In the auditory feedback (AF) group sounds from tapping were available to participants and in the no auditory feedback (NAF) group these sounds were masked using white noise. In both groups, movement improved timing judgments of the probe tone, however this improvement was more pronounced when auditory feedback was present. Additionally, tapping was more accurate when auditory feedback was available. While previously we demonstrated an effect of movement on perceived timing, here we clarify that movement alone is sufficient to trigger this improvement (independent of the movement’s auditory consequences). We identify the importance of auditory feedback as a cue for movement timing, which subsequently affects perceived timing of an external stimulus. Additionally we have demonstrated that movement alone can improve timing perception, independent of the auditory feedback caused by this movement.

Expressively actuated percussion instruments and interfaces

Percussion instruments and interfaces can be extended by incorporating actuation with motors. While many prior designs have employed actuation to simply trigger notes, this work emphasizes the importance of the musician's gesture using expressively controlled actuators. This is achieved by implementing force-feedback control of the actuators. For example, the Haptic Drum essentially consists of a drum pad attached to a woofer. Every time that a drumstick strikes the drum pad, the woofer briefly pushes it upward again, adding energy to the motion of the drumstick. In this manner, the Haptic Drum enables musicians to play one-handed drum rolls at optionally superhuman speeds and with arbitrarily complex dynamics. Furthermore, because the musician and the drumstick are inside the feedback control loop, the musician can change the rate of the drum roll by modulating the stiffness of his or her muscles or changing the downward force applied to the drumstick. Conversely, borrowing on technology for remote surgery, expressively actuated percussion instruments can be designed using force-feedback teleoperation. Simply by recording the position of the master haptic device during teleoperation, generalized motor programs can be created for expressively playing percussion instruments. This technology was employed in the composition “When the Robots Get Loose.

Altered sense of agency in schizophrenia and the putative psychotic prodrome

The mechanisms underlying distortions in sense of agency, i.e. the experience of controlling one's own actions and their consequences, in schizophrenia are not fully understood and have barely been investigated in patients classified as being in a putative psychotic prodrome. This study aims to expound the contribution of early and late illness-related processes. Thirty schizophrenia patients, 30 putatively prodromal patients and 30 healthy controls were instructed to reproduce a computer-generated series of drum sounds on a drum pad. While tapping, subjects heard either their self-produced tones or a computer-controlled reproduction of the drum tone series that used either exactly the same, an accelerated or decelerated tempo. Subjects had to determine the source of agency. Results show similar significant impairments in assigning the source of agency under ambiguous conditions in schizophrenia and putatively prodromal patients and an exaggerated self-attribution bias, both of which were significantly correlated with increased (ego-)psychopathology. Patient groups, however, benefited significantly more than controls from additional sensorimotor cues to agency. Sensorimotor input seems to be a compensatory mechanism involved in correctly attributing agency. We deduce that altered awareness of agency may hold promise as an additional risk factor for psychosis.

Music-Supported Training is More Efficient than Functional Motor Training for Recovery of Fine Motor Skills in Stroke Patients

MOTOR IMPAIRMENTS ARE COMMON AFTER STROKE but efficacious therapies for these dysfunctions are scarce. Extending an earlier study on the effects of music-supported training (MST), behavioral indices of motor function were obtained before and after a series of training sessions to assess whether this new treatment leads to improved motor functions. Furthermore, music-supported training was contrasted to functional motor training according to the principles of constraint-induced therapy (CIT). In addition to conventional physiotherapy, 32 stroke patients with moderately impaired motor function and no previous musical experience received 15 sessions of MST over a period of three weeks, using a manualized, step-bystep approach. A control group consisting of 15 patients received 15 sessions of CIT in addition to conventional physiotherapy. A third group of 30 patients received exclusively conventional physiotherapy and served as a control group for the other three groups. Fine as well as gross motor skills were trained by using either a MIDI-piano or electronic drum pads programmed to emit piano tones. Motor functions were assessed by an extensive test battery. MST yielded significant improvement in fine as well as gross motor skills with respect to speed, precision, and smoothness of movements. These improvements were greater than after CIT or conventional physiotherapy. In conclusion, with equal treatment intensity, MST leads to more pronounced improvements of motor functions after stroke than CIT.

The making of The Beatles: Rock Band

This work describes how two MIT graduates created a video-game phenomenon Beatles: Rock Band. The title, available for the Microsoft Xbox 360, Sony PlayStation 3, and Nintendo Wii, allows gamers to perform along with the Fab Four by singing and playing instruments that work as video-game controllers. The goal is to stay in sync with the music. As a song plays, color-coded dots, representing the musical notes, cascade down the TV screen. The guitarist and bassist must press the corresponding colored buttons on their instruments, and the drummer has to hit the right drum pads. Vocalists must sing on pitch as the lyrics scroll across the top of the screen. The game, created by Harmonix and published by MTV Games, features 45 career-spanning songs and pixelated Beatles characters performing at locations like the Cavern Club in Liverpool and Shea Stadium in New York City. Paul McCartney and Ringo Starr, as well as Yoko Ono and Olivia Harrison, the widows of John Lennon and George Harrison, helped Harmonix pick the songs and tweak the graphics. But the game also stands out for all the music technology behind it. To create the separate instrument and vocal tracks the game needs, Harmonix engineers had to use special audio filters to extract every note from the master tapes. They also developed a pitch-evaluating system that can monitor three players singing harmonies - a key part of the Beatles? music.

Neural Reorganization Underlies Improvement in Stroke‐induced Motor Dysfunction by Music‐supported Therapy

Motor impairments are common after stroke, but efficacious therapies for these dysfunctions are scarce. By extending an earlier study on the effects of music-supported therapy, behavioral indices of motor function as well as electrophysiological measures were obtained before and after a series of therapy sessions to assess whether this new treatment leads to neural reorganization and motor recovery in patients after stroke. The study group comprised 32 stroke patients in a large rehabilitation hospital; they had moderately impaired motor function and no previous musical experience. Over a period of 3 weeks, these patients received 15 sessions of music-supported therapy using a manualized step-by-step approach. For comparison 30 additional patients received standard rehabilitation procedures. Fine as well as gross motor skills were trained by using either a MIDI-piano or electronic drum pads programmed to emit piano tones. Motor functions were assessed by an extensive test battery. In addition, we studied event-related desynchronization/synchronization and coherences from all 62 patients performing self-paced movements of the index finger (MIDI-piano) and of the whole arm (drum pads). Results showed that music-supported therapy yielded significant improvement in fine as well as gross motor skills with respect to speed, precision, and smoothness of movements. Neurophysiological data showed a more pronounced event-related desynchronization before movement onset and a more pronounced coherence in the music-supported therapy group in the post-training assessment, whereas almost no differences were observed in the control group. Thus we see that music-supported therapy leads to marked improvements of motor function after stroke and that these are accompanied by electrophysiological changes indicative of a better cortical connectivity and improved activation of the motor cortex.

Using musical instruments to improve motor skill recovery following a stroke

In previous studies, it was shown that there is a need for efficient motor rehabilitation approaches. For this purpose, we evaluated a music-supported training program designed to induce an auditory-sensorimotor co-representation of movements in 20 stroke patients (10 affected in the left and 10 in the right upper extremity). Patients without any previous musical experience participated in an intensive step by step training, first of the paretic extremity, followed by training of both extremities. Training was applied 15 times over 3 weeks in addition to conventional treatment. Fine as well as gross motor skills were addressed by using either a MIDI-piano or electronic drum pads. As a control, 20 stroke patients (10 affected left and 10 right) undergoing exclusively conventional therapies were recruited. Assignment to the training and control groups was done pseudo-randomly to achieve an equal number of left- and right-affected patients in each group. Pre- and post-treatment motor functions were monitored using a computerized movement analysis system (Zebris) and an established array of motor tests (e. g., Action Research Arm Test, Box & Block Test). Patients showed significant improvement after treatment with respect to speed, precision and smoothness of movements as shown by 3D movement analysis and clinical motor tests. Furthermore, compared to the control subjects, motor control in everyday activities improved significantly. In conclusion, this innovative therapeutic strategy is an effective approach for the motor skill neurorehabilitation of stroke patients.

Methods and apparatus for providing an interactive musical game

An interactive electronic drum system and training techniques suitable for use in a coin-operated environment such as an arcade are described. Electronic drum pads, audio speakers, a visual display, training lights and an overall control system are combined to simulate the excitement of a live drum or interactive musical jam session for a user. Positive feedback and, as necessary, instructive aid are provided to make the experience a positive one for both the novice and the expert player. Learning and playing a musical instrument becomes an intuitive, exciting experience and not a boring chore to be endured. Players can simulate the experience of playing in a rock band before a live and appreciative audience. In short, this interactive electronic drum system makes drums and the jamming experience widely accessible to the public.

Brain potentials and self-paced random number generation in humans

Random number generation (RNG) requires executive control. A novel paradigm using the eight drum pads of an electronic drum set as an input device was used to test 15 healthy subjects who engaged in random or ordered number generation (ONG). Brain potentials time-locked to the drum-beats revealed a more negative response during RNG compared to ONG which had a left frontal distribution. Source analysis pointed to Brodmann area 9, which has been reported previously in a PET study and is thought to be engaged in suppression of habitual responses such as counting up in steps of one during RNG. Lateralized readiness potentials reflecting the difference in activation of the contra and ipsilateral motor cortex were smaller during ONG reflecting the ability to preprogram such canonical sequences.

The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment

September 01 2002 The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment Ryan Ulyate, Ryan Ulyate Synesthesia, 415 South Topanga Canyon Boulevard #210, Topanga, CA 90290 USA, www.synesthesia.com, ryan@synesthesia.com Search for other works by this author on: This Site Google Scholar David Bianciardi David Bianciardi Synesthesia, 415 Lafayette Street, 2nd floor, New York, NY 10003 USA, www.synesthesia.com, david@synesthesia.com Search for other works by this author on: This Site Google Scholar Author and Article Information Ryan Ulyate Synesthesia, 415 South Topanga Canyon Boulevard #210, Topanga, CA 90290 USA, www.synesthesia.com, ryan@synesthesia.com David Bianciardi Synesthesia, 415 Lafayette Street, 2nd floor, New York, NY 10003 USA, www.synesthesia.com, david@synesthesia.com Online Issn: 1531-5169 Print Issn: 0148-9267 © 2002 Massachusetts Institute of Technology2002 Computer Music Journal (2002) 26 (3): 40–49. https://doi.org/10.1162/014892602320582963 Cite Icon Cite Permissions Share Icon Share MailTo Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Ryan Ulyate, David Bianciardi; The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment. Computer Music Journal 2002; 26 (3): 40–49. doi: https://doi.org/10.1162/014892602320582963 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 2002 Massachusetts Institute of Technology2002 Article PDF first page preview Close Modal You do not currently have access to this content.

Drum practice pads and drum pad musical instruments

A drum practice pad comprised of a flat circular piece of hard material having a flat circular piece of resilient material bonded to the upper surface thereof, the piece of resilient material having a diameter which is less than the diameter of the piece of hard material. Sound insulating cushions are affixed to the lower surface of the hard material for supporting the hard material in an acoustically-floating manner during use. A plural-pitch set of drum pads is provided by using a second drum pad of this same construction, but with the piece of hard material having a different thickness or diameter.

Method and apparatus for simulating a jam session and instructing a user in how to play the drums

An interactive electronic drum system and training techniques suitable for use in a coin-operated environment such as an arcade are described. Electronic drum pads (21-28), audio speakers (61-63), a visual display (105), training lights (21A-28A), and an overall control system (85) are combined to simulate the excitement of a live drum or inactive musical jam session for a user. Positive feedback, and as necessary, instructive aid are provided to make the experience a positive one for both the novice and the expert player. Learning and playing a musical instrument becomes an intuitive, exciting experience and not a boring chore to be endured. Players can simulate the experience of playing in a rock band before a live and appreciative audience. In short, this interactive electronic drum systems makes drums and the jamming experience widely accessible to the public.

Tuned electronic drum pad

A floating metallic striker plate with a transducer positioned by selective antinode alignment at the resonance point of the striker plate, i.e., the point of greatest vibration. A thin disk made from a plastic laminate or wood veneer is positioned at the bottom of a metallic shell and held in place by a locking rim. A metallic bottom plate is placed on top of and attached to the disk. An isolation ring and isolation foam disk are attached to the bottom plate. The metallic striker plate is attached to the isolation ring and interior surface of the shell by silicon adhesive. A flat transducer with electrical connections to a jack in the side of the shell is attached to the striker plate undersurface at the plate's resonance point. A pure gum rubber disk is attached to the striker surface of the striker plate.