The Scrubber is a general controller for friction-induced sound. Allowing the user to engage in familiar gestures and feeling actual friction, the synthesized sound gains an evocative nature for the performer and a meaningful relationship between gesture and sound for the audience. It can control a variety of sound synthesis algorithms of which we demonstrate examples based on granular synthesis, wave-table synthesis and physically informed modeling. 1.

We present a prototype of a new musical interface for Japanese drumming techniques and styles. Our design used in the Aobachi drumming sticks provides 5 gesture parameters (3 axes of acceleration, and 2 axes of angular velocity) for each of the two sticks and transmits this data wirelessly using Bluetooth technology. This system utilizes minimal hardware embedded in the two drumming sticks, allowing for gesture tracking of drum strokes by an interface of traditional form, appearance, and feel. Aobachi is portable, versatile, and robust, and may be used for a variety of musical applications, as well as analytical studies.

This paper presents the `Bean', a novel controller employing a multi-touch sensate surface in a compound curve shape. The design goals, construction, and mapping system are discussed, along with a retrospective from a previous, similar design.

We present case studies of unusual instruments that share the same excitation mechanism as that of the bowed string. The musical saw, Tibetan singing bow, glass harmonica, and bowed cymbal all produce sound by rubbing a hard object on the surface of the instrument. For each, we discuss the design of its physical model and present a means for expressively controlling it. Finally, we propose a new kind of generalized friction controller to be used in all these examples.

Abstract—Tubular bells are geometrically simple representatives of three-dimensional vibrating structures. Under certain assumptions, a tubular bell can be modeled as a rectangular plate with different types of homogeneous boundary conditions. Suitable functional transformations with respect to time and space turn the corresponding initial-boundary value problem into a two-dimensional transfer function. An algorithmic model follows according to the functional transformation method in digital sound synthesis. As with simpler vibrating structures (strings, membranes) the synthesis algorithms consist of a parallel arrangement of second-order sections. Their coefficients are obtained by simple analytic expressions directly from the physical parameters of the tubular bell. Index Terms—Audio signal processing, physical modeling, sound synthesis, virtual instruments. I.