A multi-disciplinary designer’s journey in field recording, sound design, and music.

The Sound Design of TouchTones

Posted: March 12th, 2010 | Author: | Filed under: interactive audio, music, sound design, synthesis

TouchTones, created by our crew Stimulant, is an interactive, multi-user, multi-touch music maker for Microsoft Surface.

Inspired by the work of Toshio Iwai and originally conceived (and entirely developed) by  the insanely talented Josh Santangelo, I led the creative direction and interaction design, and I also created all the sounds for the piece. Our goal in making TouchTones was to ensure that anyone could use it with only a few seconds of exploration, and create beautiful music without any musical training. It was all about immediacy and richness, and the sound needed to support this.

TouchTones is a grid-based music sequencer: the user sets a sprite in motion that, when passing over a grid node, makes a specific sound. Each sprite is a different instrument, moving at different speeds, but are all locked to a master tempo. There are four sprites (voices) and 32 nodes (pitches/notes).

The main challenge was placing notes on the grid. I started by composing short pieces of music that featured a lot of arpeggios of varying note durations, which mimicked how the nodes on the grid would get triggered. This helped me figure out the best note durations for certain sounds, and to establish a key to work in. Since the user is the one who creates the final melody, the only way to really stress-test the sounds and key was to prototype and have real people play with it.

The sound palette itself went through several iterations. The first featured somewhat realistic sounds with a pretty complex scale, so the likelihood of atonality was too high. The second iteration featured purely electronic sounds in a more harmonious scale, but the sounds were too aggressive (probably owing to my own past attraction towards angry music). The third and final iteration finally hit the mark: Cleaner, primarily acoustic sounds, a key that’s pleasant and even a bit wistful, and a note distribution that isn’t always linear, preventing unnatural shifts into inappropriate pitch registers. Internally, we jokingly call the final result the “indie film about autumn in Central Park” palette.

All the sounds were created in Logic Pro, primarily using the EXS24 sampler. A lot of tonal and envelope tweaking ensued. Rather than provide sound clips like I usually do, I encourage you to watch the embedded video above to get a sense of how the application feels and sounds.

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