After user feedback regarding the nature of my samples and the complexity of the compositions they generate, I've decided to keep the number of instruments at six and not worry about writing complex generation algorithms for this iteration of the project. In the event that a version is commissioned for such functionality, I do have another patch that I'm creating for my Max class, but when a consortium of music technologists and educators tell you that the samples make it enjoyable, I'm not about to get terribly contrary.
In other words, "build the thing" is now in its polishing stages, which means I can focus more attention toward finishing the paper.
For more about the most recent test of the project, including an awesome video of it in action, click here.
I once again met with my advisor, where we started to form a plan of attack vis-a-vis my external advisor, some other areas of focus and research on music technology/psychology, and what the potential life is for this thing after the thesis defense. Check it out.
Finally, I've spent the week adding bits and bobs to the paper, mainly focusing on the development of play research, since music is pretty robust and touch is getting more and more complex as I write it. My advisor and accountability partner have both had the opportunity to read and edit the paper, so now I'm about to hire a third reader to look at it with objective eyes. The latest version is right here.
Oh yeah, forgot to mention that I entered this installation into the Currents festival in New Mexico, so hopefully, the American Southwest will get to try this thing out.
I should really get on reserving a turkey, huh?