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NIME 2007 in New York

New Instruments for Musical Expression, 6 of June 2007.

A gathering of researchers, artists and composers working with music technological issues, with a focus of making New Instruments for Musical Expression. (NIME)

"In the last year, there has been a number of commercial efforts to provide sensors and sensor interfacing solutions to artists, programmers and designers. This workshop will allow these companies and (student) entrepreneurs to present their product developments in one four hour session"

First session: Presentations of Digital interfaces.
Harvestworks Wednesday June 6, 2007

I-CubeX by Infusion systems (Canada)

Interfaces: I-cube, USB device Microdig , blue tooth Wi-microdig.
Sensors as spin, velocity, 3d axel, tilt + gravity, distance sensor without clicking, new press sensors, Bio sensors as the EMG/GSR, EKG, EOG/EEG: Muscle tension/skin, brain waves, hart beat

T-Box by Electrotap (USA) Interface: real fast and solid box. XLR in, analog 3 pin in, AJ11 network cable in. SP Dif out(DIGITAL) uses Midi and OSC sensors with is calibrated, but all will fit.

Eowave 2 (French)
Prototype of EO-wave

Interface and sensors. USB/MIDI/AUDIO, Jack inputs, separate boxes. Goal to make a Modular kit. Many great sensors.
Makeing things (USA) Programmable interface, low cost, USB/ethernet, simple and flexible board. Building kit + software.
Dan Overholt: Create at Santa Barbara, interaction design (USA) Interface of electro board. Open source. HID input as a mouse or joystick. Oui to OSC. Building kit. A lot of examples of artwork from Santa Barbara.

Second session: Special Workshop on Music & Robotics with Trimpin, Jacques Rémus, Godfried-Willem Raes,
Gordon Monahan and Eric Singer
LEMUR: League of Electronic Musical Urban Robots

Jean Rémus: outdoor musical installations of mechanical instruments (France) Different mechanical instruments used as installations. Mostly percussion and flutes
Godfried Willem Raes: The logos foundation (Belgium) Mechanical orchestra, A lot of instruments from percussion to organs and a Tuba! He also made a Quartertone glockenspiel robot!
Sam Trimpin: Seattle (USA) scrap heap instruments.
Gordon Monahan: (Canada) Teremin and long piano strings
Eric Singer for Lemur (New York) mechanical percussion instruments and some string instruments.





All of them with solid, interesting artistic work! Real fun to listen to. Inspiring! The generation after John Cage and Harry Partch. Real experimental musical instrument makers.

At the New York University

Demos/stands by producers of electronics:

Electrotap (USA)
Eowave 2 (French)
Cycling 74
I-CubeX and sensors by Infusion systems
Makeing things (USA)


Participants of the conference displaying and showing instruments

  • Matching Parts: Inner Voice Led Control for Symbolic and Audio Accompaniment
    Nick Collins
  • Rage in Conjunction with the Machine
    Mark Cartwright, Matt Jones, Hiroko Terasawa
  • Introducing Pitch, Melody and Harmony into Robotic Musicianship
    Gil Weinberg, Scott Driscoll
  • B-Keeper: A Beat-Tracker for Live Performance
    Andrew Robertson, Mark Plumbley
  • Integrating HyperInstruments, Musical Robots & Machine Musicianship for North Indian...
    Ajay Kapur, Eric Singer, George Tzanetakis
  • The Wrist-Conductor
    Arthur Clay, Dennis Majoe
  • Design Issues in Interaction Modeling for Free Improvisation
    William Hsu
  • fMRI-Compatible Electronic Controllers
    Avrum Hollinger, Virginia Penhune, Robert Zatorre
  • GHI project and "Cyber Kendang"
    Yoichi Nagashima
  • Sensillum : an improvisational approach to composition
    Shinichiro Toyoda
  • The Samchillian Tip Tip Tip Cheeepeeeee: A Relativistic Keyboard Instrument
    Leon Gruenbaum
  • Interfacing Audiences Into the Compositional Process
    Jason Freeman
  • The ColorDex DJ Systems: A New Interface for Live Music Mixing
    Nicolas Villar, Matt Jervis, Alexander Lang
  • The WaveSaw: A Flexible Instrument for Direct Timbral Manipulation
    Luke Dahl, Nathan Whetsell, John Van Stoecker
  • >hot_strings SIG<
    Cornelius Poepel, Günter Marx
  • Visual Feedback in Performer-Machine Interaction for Musical Improvisation
    Alexandre Francois, Elaine Chew, Dennis Thurmond
  • Effortful Interaction: Playing the Edge-trimmer
    Nicholas Ward, Peter Bennett, Sile O'Modhrain


Instrument Design in the auditorium on Thursday. Paper session.

  • The Multimodal Music Stand
    Dan Overholt, Lance Putnam, John Thompson
  • The T-Stick: from Musical Interface to Musical Instrument
    Joseph Malloch, Marcelo Wanderley
  • The Thummer Mapping Project (ThuMP)
    Garth Paine, Ian Stevenson, Angela Pearce
  • HandSketch Bi-Manual Controller: Investigation on Expressive Control Issues of an Augmented...
    Nicolas D'Alessandro, Thierry Dutoit
  • Mobile Clavier: A New Music Keyboard for Flexible Key Transposition
    Yoshinari Takegawa, Tsutomu Terada, Masahiko Tsukamoto
All of the projects were very interesting! Different approaches to making electronic instruments using sensors, interfaces and software, and a which to make a expressive musically instrument!

Paper session Friday:

Concert Friday. Frederick Loewe Theater, NYU

Timing, Motion and Rhythm

  • New Interfaces for Popular Music Performance
    Roger Dannenberg
  • Towards Rhythmic Analysis of Human Motion using Acceleration-Onset Times
    Eric Lee, Urs Enke, Leo de Jong
  • nJam user experiments: enabling NMP from milliseconds to seconds
    Nicolas Bouillot
  • Ashitaka: an audiovisual instrument
    Niall Moody, Dr. Nick Fells, Dr. Nicholas Bailey
  • Percussion instruments using realtime convolution: Physical controllers
    Roberto Aimi



New Works for Commissioned Performers
Kathleen Supové, piano
Todd Reynolds, violin
  • Music For Sextet and Computer
    Cort Lippe

Kathleen Supové
  • Private Lesson
    Eric Lyon
  • Landmine
    Dafna Naphtali
  • Digits
    Neil Rolnick

Todd Reynolds
  • Beginner's Mind
    Todd Reynolds
  • September Canons
    Ingram Marshall
  • For Reynolds
    Andreas Weixler, Se-Lien Chuang
  • Three Pieces to End One Half of a Concert
    Todd Reynolds
  • Lasso and Corral: Variations on an Ill-Formed Meter
    Dan Trueman, Ken Thomson on Bass Clarinet



Sunday session at Colombia University:

NIME@Columbia         Sunday, June 10

NIME07/Columbia University Computer Music Center
Open to Public at 2:00 PM


    Installations (2:00 PM -- 11:00 PM)
    • Sensity -- stanza
    • bd: Sound Installation with swarming robots -- Yuta Uozumi, Masato Takahashi, Ryoho Kobayash
    • nite_aura -- Jinsil Seo, Greg Corness
    • The Tipping Point -- Betsey Biggs
    • Academic Computer Music -- Sam Pluta
    • Ghost Jockey -- Daniel Iglesia
    • Percussion -- Jeff Snyder
    Workshops/Presentations (2:00 -- 5:00 PM)
    • Richard Boulanger/Wii controllers/Csound -- 2:00 PM
    • Work from the Columbia University CMC (music/software/hardware) -- 3:00 PM

    Concerts (7:00 PM -- midnight)
    • Columbia-Princeton -- 7:00 PM
 shining sea -- Alan Tormey
          CliX -- Ge Wang
          fabric -- Scot Smallwood
          Take it for Granite -- Perry Cook
          NetSeq -- Dan Trueman

          American Tokyo Daydream II (incognito) -- Sam Pluta/Glissando bin Laden
          PolyDecay II -- Daniel Iglesia
          NIMEpiece II -- PGT (Terry Pender/Brad Garton/Gregory Taylor)
          Tepozchiquilichtlimej II (Multiplexor IIb) -- Victor Adan
          II -- Jeff Snyder

    • open laptop jam -- (c. 9:30)

The concert with PLOrch was great. Many interesting pieces of music and a great performance! (Prinston Lap Topp Orchestra)


The whole conference has was a great inspiration for me. For the first time i can see what people use the technical possibilities i only have read about, and have been curious about for a long time. The historic aspect of the mechanical instrument makers were great. The possibility to look into what is going on inside the computer and the taught's behind the music made with these things were interesting. The potential in the technology is great. I need to really start working with this. My performances will gain a lot using NIME instruments as a variation. It has an extra energy. Use it with care, and be aware of the aesthetic aspect of playing good music, not technological interesting solutions. Focus on the music.

I am now going to plan my interfaces and sensors with my new knowledge, and i look forward to it.







Copyright: Kjell Tore Innervik | February 6, 2008