Jihoon.Folio
Jihoon.Folio
String Free
Jihoon.Folio
"How might we re-imagine the traditional violin that assist amateurs who struggles to get to a level where they can enjoy playing?"
Outcome
Learning a musical instrument is a great asset and can be very rewarding. However, the journey to get there is not necessarily an easy path and requires for the musician to overcome inevitable challenges in order to keep moving forward. There are a large cohort of amateur musicians who struggles to continue in playing a traditional instrument to a level where they can enjoy playing once they hit a technical or musical barrier. With the traditional violin being the focus in this study, there is fewer existing interventions for violin users that is available within this field, which offer an assistance for musicians who struggles to pick up an instrument.
Problem
Research showed that 85% of American adults wished that they had learned to play a musical instrument and 69% would like to play one now, while only 12% were actually playing musical instruments. Another study shows that out of 50.5 million people 34% covered those who currently plays, while 40% used to play but stopped. This reflects the large cohort of amateur musicians who struggles to continue in playing a musical instrument to a level where they can enjoy playing once they hit a technical or musical barrier.
Out of all of the contributing factors most common reason as to why people stop playing or is struggling to continue playing their musical instruments are stated in the following.
• Losing interest in learning, playing a musical
instrument
• Don’t see or make any progress in their musical
skills/techniques
• Being too self-conscious and afraid of making
mistakes
• Maintaining to play consumes too much time
• There is just not enough motivation to keep
them going, as well as lack of support whether
that’s financially or moral support from their
family/teachers
Analysis
To understand what makes the violin difficult to learn and play, an analysis was conducted outlining difficult features. Strings used in a traditional violin cause user to have calluses on their fingers from playing overtime which would gradually allow their fingers to develop tolerance through the skin hardening process. As this being one of the reasons why users struggled to play, the fingerboard does not have any guides or indication of the frets as well. Unless you develop a muscle-memory of each fret location, this is another aspect that makes the violin such a difficult instrument to play. With the bow, different areas weigh vary and so learning how to balance the bow is a crucial technique in order to produce clean and correct sound. Traditional violins are held (through the support of the chin and left shoulder) creating unnatural pose and commonly causes violinists to get a violin hickey, also known as ‘fiddler’s neck’, which are cutaneous condition that creates inflammation/redness on the skin.
Opportunity
Gap in the Field
There have been many guitar interventions for string users as an alternative approach to its traditional playing style; such as buttons replacing strings, single touch for a complete
note, and surface with sensors for multiple interactions. However, there is a gap in this field as there aren’t many interventions that assist violin users who struggle to learn and
play.
Proposal
In response to the design opportunity, the project attempts to offer a solution stated in the following proposal: Re-imagining the traditional violin that assist amateurs who struggles to get to a level where they can enjoy playing.
User
Stakeholders
To refine and figure out the specific group to be focused in this project, through the exploration of potential stakeholders who are involved
in this field will give a better understanding on whom the project is dealing with. Key stakeholders are introduced in the following:
• Student/Performer
• Music Teacher
• Sound Technician/Composer
• Music Therapist
Experienced and Inexperienced Musicians
Understanding the focus of this project, the area of research and design
outcome should cater not only to those who have experienced playing a musical instrument at an amateur level. But it should include users who aspire of becoming a ‘capable’ musician as well as others who solely wish to play like a musician. The study will therefore aim to benefit two different
types of user in the following:
• Experienced musician (those who have played
a musical instrument before)
• Inexperienced musician (those who aspire of
being a musician)
Considerations
User Objectives
• Expressive without years of practices
and high level of knowledge in music
• Not requiring additional components to
operate the instrument (accessible)
• Be intuitive and easy to use by anyone
(doesn’t require additional music lessons)
• Have some resemblance/familiarity with
traditional design
• Suitable to any playing environment (via
speakers or headphone for quiet mode)
Design Objectives
• Replace conventional strings while
offering similar interactions
• Have indication for frets
• Provide simplified bowing motion that
produce clean and correct sound
• A chin rest with soft material to prevent
‘fiddler’s neck’
• Consist of enough frets to not limit
the user musically (suitable amount for
amateurs)
Methods (Development Cycle)
As this project involves delivering a technical
outcome, the research framework was used
to create a balance between stakeholders and
technical research for the final design. The
research framework was divided into two parts
as follow:
1. User centred: interviews, user and field
observation
2. Technical: field of practice, instrument
design, interface application
Addressing the design objectives, the concept
was produced and further developed through
a cycle of different methods. During this stage,
following parts were frequently utilised to help
revisit the overarching goals of this project:
inspiration, sketch ideation, prototyping, CAD
modelling, coding, and electronics.
Due to the given duration of this project having
a clear development cycle identifies what is
required and the key focus in the development
phase. The final outcome produced from this
project would consists of three main elements
in the following.
1. Re-imagined Components
2. Interaction (Techniques - to give a realistic
feedback)
3. Operation Design (for the physical interaction
between user and the instrument)
Design Development
Fingerboard
During the initial stage of development, through sketch ideation three potential direction for the fingerboard were explored outlined in the following.
1. Four columns extruded from the surface
2. Rounded points along four lines extending
on the surface
3. Using both geometric and organic shapes
with irregular order progression
The first option was used to further explore the fingerboard concept. Reminding of the design objectives, the fingerboard needs to replace conventional strings yet providing similar interaction meaning it should provide four identical details on the surface with frets indication. To address these requirements,
through sketch ideation and prototyping quick models, various ideas were created within the first direction with all having four columns of extruded line and rows in between for frets indication. At this stage, the fingerboard with frets separating rows of notes was selected and created in CAD program. This concept would
be later used for testing.
Bowing Platform
Different options were explored for the bowing platform in the sketch ideation phase. The bowing area was explored in three different types, which are:
1. Bowing area for traditional bow
2. Bowing area with a new bow design
3. Bow that is fixed onto the body
As the objectives emphasise on offering a ‘simplified bowing motion’, all three options replaced four strings with a flat/curved surface for easier bowing method. The user objectives also outline additional components would not be included in order to operate the instrument. Keeping this in mind, the second option was disregarded as it would require creating a new type of bow and potentially making users to acquire additional parts to use the instrument. The third option was inspired from other types of string instrument that challenges ‘conventional bowing method’ by applying a different method to produce sound instead of
moving a tool across the body.
However, as the project aims to preserve some resemblance from the traditional violin, including the interaction, it was decided that the final outcome would be designed to be compatible with a traditional bow that is easily accessible but integrating familiar parts to allow the instrument be more approachable for users. With the bow sorted the bowing platform was further developed through prototype models and prepared for testing along with the fingerboard.
Body Frame
The body of a traditional violin is designed with bloated surface for acoustic purposes that serve a crucial role in providing the correct pitch. As the final outcome does not concern with producing acoustic sounds, in the initial ideation stage ideas were inspired by examples of electric violin and different types of guitar shapes. One main distinctive feature that is shared across all examples was the use of negative space on the body. By creating a gap in between the central area and outer frame as the form don’t affect the sound it produces it has the benefit to reduce the weight while adding a contemporary aesthetic to the design. Some other examples of take this feature further by designing a half-made body string instruments.
Chin and Shoulder Rest
The main important aspect that needed to be addressed was
traditional violins are held, the chin rest had already been ergonomically designed but the choice of material was the cause that lead users to have the ‘fiddler’s neck’. In this stage the form of chin rest was less focused compared to materials that were explored to figure out most suitable to use for the final outcome. For design consideration, the top surface needed a bit more curvature for a better fit when their chins are placed on top. In the CAD program the design was further developed. In addition
to this, based on feedback given on the concept design from an interview, it was noted that the instrument should offer a lower lip for shoulder rest attachments because unlike the chin rest, the shoulder rest comes in range of different sizes and therefore becomes more personalised for different types of users.
Coding
Two main programs were utilised in this project: the Processing and Arduino.
Processing
Processing acts as the middle figure that receives
data (A, B, C, D) through serial from Arduino and use it accordingly to trigger corresponding sound stored inside the program. The four variables that are received would play four different violin notes through computer.
Arduino
Inside the Arduino code, the variable and threshold value is set and whenever the variable is greater than the threshold value, 350, the program will print into the serial of four different letters (A, B, C, D) each representing one of the FSR that is connected to the Uno board with solderless breadboard. There is also
a delay of 100, which means as it detects signals
from all variables it will clearly separate the four from each other and detect in the order of its signal. For the outcome, whenever the FSR is touched the data will be sent into the serial with their corresponding letters.
import beads.*;
import java.util.Arrays;
import processing.serial.*;
Serial myPort;
int val;
//Added above for Serial
AudioContext ac;
SamplePlayer player1;
SamplePlayer player2;
SamplePlayer player3;
SamplePlayer player4;
SamplePlayer currentPlayer;
color fore = color(255, 102, 204);
color back = color(0, 0, 0);
Boolean playing;
float cur_time, prev_time;
void settings() {
size(1500, 900, P3D);
//fullScreen();
}
setup() {
String portName = Serial.list()[0];
println(Serial.list());
myPort = new Serial(this, “/dev/
cu.usbmodem1411”, 9600);
//Added above for Serial
ac = new AudioContext(128);
player1 = new SamplePlayer(ac,
S a m p l e M a n a g e r .
sample(getFileName(“violin1.wav”)));
player1.setKillOnEnd(false);
player1.setToEnd();
player2 = new SamplePlayer(ac,
S a m p l e M a n a g e r .
sample(getFileName(“violin2.wav”)));
player2.setKillOnEnd(false);
player2.setToEnd();
player3 = new SamplePlayer(ac,
S a m p l e M a n a g e r .
sample(getFileName(“violin3.wav”)));
player3.setKillOnEnd(false);
player3.setToEnd();
player4 = new SamplePlayer(ac,
S a m p l e M a n a g e r .
sample(getFileName(“violin4.wav”)));
player4.setKillOnEnd(false);
player4.setToEnd();
Gain g = new Gain(ac, 2, 0.4);
g.addInput(player1);
g.addInput(player2);
g.addInput(player3);
g.addInput(player4);
ac.out.addInput(g);
ac.start();
playing = false;
cur_time = prev_time = 0;
currentPlayer = player1;
}
void mouseMoved()
{
cur_time = millis();
prev_time = cur_time;
if (playing == false) {
currentPlayer.reset();
playing = true;
}
}
void draw() {
val = myPort.read();
if(val == ‘A’) {
currentPlayer = player1;
}
if(val == ‘B’) {
currentPlayer = player2;
}
if(val == ‘C’) {
currentPlayer = player3;
}
if(val == ‘D’) {
currentPlayer = player4;
}
background(0);
drawWaveForm();
cur_time = millis();
float duration = cur_time - prev_time;
if ((playing == true) && (duration > 100))
{
currentPlayer.setToEnd();
playing = false;
}
}
void drawWaveForm()
{
loadPixels();
Arrays.fill(pixels, back);
for(int i = 0; i < width; i++) {
//for each pixel work out where in the
current audio buffer we are
int buffIndex = i * ac.getBufferSize() /
width;
//then work out the pixel height of the
audio data at that point
int vOffset = (int)((1 + ac.out.
getValue(0, buffIndex)) * height / 2);
//draw into Processing’s convenient
1-D array of pixels
vOffset = min(vOffset, height);
pixels[vOffset * height + i] = fore;
}
updatePixels();
}
// This function returns all the files in a
directory as an array of Strings
String[] listFileNames(String dir) {
File file = new File(dir);
if (file.isDirectory()) {
String names[] = file.list();
return names;
} else {
// If it’s not a directory
return null;
}
}
String getFileName(String filename)
{
String path = sketchPath();
String value = “”;
File[] files = listFiles(path);
for (int i = 0; i < files.length; i++) {
File f = files[i];
if(f.getName().equals(filename)) {
value = f.getPath();
}
}
return value;
}
int val = 0;
int threshold = 350;
void setup () {
Serial.begin (9600);
}
void loop () {
val = analogRead (A0);
if (val> threshold) {
digitalWrite (A0, HIGH);
Serial.println (“A”);
}
delay (100);
if (val< threshold) {
digitalWrite (A0, LOW);
}
val = analogRead (A1);
if (val> threshold) {
digitalWrite (A1, HIGH);
Serial.println (“B”);
}
delay (100);
if (val< threshold) {
digitalWrite (A1, LOW);
}
val = analogRead (A2);
if (val> threshold) {
digitalWrite (A2, HIGH);
Serial.println (“C”);
}
delay (100);
if (val< threshold) {
digitalWrite (A2, LOW);
}
val = analogRead (A3);
if (val> threshold) {
digitalWrite (A3, HIGH);
Serial.println (“D”);
}
delay (100);
if (val< threshold) {
digitalWrite (A3, LOW);
}}
Code used in Processing (Tab 1 - Violin Sample Player)
Code used in Processing (Tab 2 - Utils)
Code used in Arduino
Testing
The documentation on the evaluation and validation process for the final prototype. Evaluation methods were used to address different design objectives from previous chapters; which include first-hand, user and specialist testing of the final prototype. Main changes are outlined that were adapted into the design to help improve areas of limitation and under-performance for the user and validating the process towards the final outcome. The design will be assessed as to whether it invite and encourage amateurs to play a role in the process.
Form Testing
Method
To test the ergonomic and practicality of the instrument, a prototype model of the instrument with all components were built to assess and be tested. The prototype was held while both the fingerboard and bowing platform was interacted with a traditional violin bow.
Result
As the dimensions of the model were calculated based on actual measurements from traditional violin through research, the proportion of each components were right. Although, there were couple of details that had awkward areas and discomfort, which needed to be addressed through further development.
Changes
From the test results, the following features needs to be further improved and developed. These changes are addressed and outlined in design alterations section.
• Reducing the gap between each fret, potentially
adding more notes to reduce music limitations
• Having enough curvature on the neck for
easier and comfortable finger transitioning
• Opening a gap on the body frame from side
for freer bowing movements
Interface Testing
Method
The interface was tested through an electronic prototype using sensors connected to coding programs. As this process was also presented as for demonstrating the technical aspect of the final outcome, a housing was made out of foam core material to cover the sensors cables, all electrical connections. A traditional violin bow was used to trigger sound through the optical flow sensor while the four FSR were pressed to alter the note that was being played.
Result
The test was a success to demonstrate how the interface would operate for the final outcome. With a firm bowing on the optical flow sensor the violin sound was played smoothly, while by applying enough amount of force onto each FSR it was able to play different notes without any technical issues.
Future Consideration
The force sensitive resistor is what will be used on the actual product as it offers wide range of interactions, however the form from the demo don’t follow final outcome because magnification is difficult and making something small is for manufacturing stage. Also wireless is out of the scope of this project.
To demonstrate the functionality of final outcome, the electronic prototype undergone five stages in the testing. The testing is outlined in the following.
1. Connecting FSR to Arduino and printing data into the serial through applying force onto the FSR
2. Connecting optical flow sensor to Processing and triggering a sound/accessing the sound file through the program
3. Modifying both Arduino and Processing code to be able to send and receive data through the serial port
4. Connecting four FSR to Arduino using Uno board with solderless breadboard and jump wire cables, and printing four types of variables (A, B, C, D) into the serial port
5. Receiving these four variables from Arduino in Processing to trigger four types of violin notes corresponding to each variable
Expert Testing
Method
A professional violinist/violin repairer, was contacted and interviewed in order to conduct an evaluation on the final design. On the site, selected CAD renderings, a prototype mode, a short demonstration video of the electronics were presented along with prepared questions for a feedback on the outcome. Questions include his thoughts on the design concept, whether it has a potential to add a value in the field and would serve beneficial for the target group. During this interview, the final outcome still had few un-resolved
areas and so he was only able to provide feedback on what was presented on the site.
Result
Once there was an established understanding of the final outcome and overall project, he showed interest in testing out the instrument as there haven’t been many options available for violin users that assist in learning and playing. As the final outcome was still undergoing development process, he pointed out that he would expect for the fingerboard to have enough notes (majors, sharps, flats) to not limit users musically. Assessing the prototype model after few adjustments were made based on the evaluated feedback from form testing, he mentioned
that all angles feels right, and every part would work
during its use (validating the user objective “being intuitive and easy to use” – helping to achieve). By observing how he was holding/handling the model without any instruments, he had no issues to realise what the fingerboard offer, where you should be bowing, and to rest your chin. Although the model didn’t have the controls ready, after presenting it through renderings (showing the placement of controls) he added that it should be okay leaving controls on the inside if you don’t need to access while playing. He expressed curiosity to see how many notes there will be in the final outcome, how these would affect playing, and the different bowing method would work.
Design Alterations (Further Development)
Improved Fingerboard
From the form testing, the large distance between each note posed a problem for the fingerboard. The design was revisited,
and further developments were made through ideation methods taking test results into consideration. As further research was needed to accurately identify the quantity of notes that it should consist of, violin videos and tutorials online were utilised for guidance in this stage.
Through additional research on the violin fingering positions, the first and third position from traditional fingerboard was applied into the fingerboard design. To distinguish major notes from sharps and flat notes, different colours were used to inform the user. However, for a more subtle detail to balance the overall
aesthetic of the fingerboard, edge highlight was later chosen that provides an indication for the user when they play but not as noticeable when viewed from the top.
Improved Bowing Platform
From testing of the physical prototype, it was also found that the surface for bowing was considered too large to be covered with an optical flow sensor. Therefore, in order to develop this part into a more realistic outcome the concept was improved by reducing its size and creating a gap that allows for the bow for easier movement while making it easier to plant the sensor. Improvements were developed through sketch ideation, prototyping and CAD modelling.
Improved Body Frame
Two crucial aspects that needed to be considered for the body frame was first overall visual balance where there’s consistency flowed through each part that makes up the instrument. The other
important aspect is the value of the design, as previously mentioned, some examples of electric violin uses a half-made body and its ‘advanced’ appearance reflects targeting a more
experienced musician. Referring back to the target group for this project, a design closer to traditional design seems more appropriate and suited for amateurs and ‘in-experienced
musician’.
Outcome
Design
The final version of the instrument’s design from the study’s exploration. Through development of various iteration stages, the final design presents a unique ergonomic form. The re-imagined violin is an ideal instrument that offer an interactive string-free fingerboard with a simplified bowing method to maximise user experience. With a
built-in sound system, the instrument becomes portable that can be played in both outdoor and indoor settings with a Bluetooth feature making it versatile to any playing environment. Additional features were carefully chosen and developed to maximise overall user experience.
By working with users attentively, the Violin 2.0 has been designed to be practical while intuitive, which can be easily operated by anyone. The body frame along with main components has been developed, tested, and further improved to ensure it provides a comfortable and non-strenuous functional instrument that can be played with ease of mind. With its main body built with plastic material providing a sturdy yet lightweight carry experience, areas that directly interacts with the user are made with silicone for a soft and comfortable touch.
Features / Interactions
Frets, Notes, Chords
The fingerboard features a string-free silicone surface with highlighted major notes that can be seen when the instrument is held, while sharp and flat notes remain not highlighted for clear distinction. It consists of complete notes from the first and third fingering positions that
make essential notes/chords available in order to play at an amateur level. Beneath the silicone surface a force sensitive resistor technology (PCB board) is situated that responds from user’s input.
Bowing
The instrument offers a simplified bowing method through a single bowing platform replacing conventional four strings. Designed to be compatible with a traditional violin bow, the optical flow sensor situated underneath the metal surface housing responds through a laser as it detects the bow movement triggering violin sound.
The goal is to see more opportunities created for those who once struggled to learn and play a musical instrument while invites them into a new space that encourage in reaching to a level where you can start enjoying playing again.
