Quadrumvibrate

John Ferguson, and Andrew Brown

Proceedings of the International Conference on New Interfaces for Musical Expression

Abstract

This performance is a duet which may also be understood as a quartet of interacting human and machine actors. The work explores the sonic and rhythmic possibilities of generated and algorithmically modulated rhythmic sequences that trigger layered, synthesised percussive sounds. Performers shape these processes through direct manipulation and by initiating generative and regenerative processes. The performers each play a NIME called the Beat Machine, which is a bespoke, handmade instrument they designed and built from affordable electronic components, including an ESP32 microcontroller, multiplex chips, accelerometer, and digital to analog converter. It incorporates a LiPo battery and charging circuitry, plus a small amplifier and speaker to support portable performance. The instrument is housed in an elegant, laser-cut wooden enclosure using a living hinge design with panel‑mounted interface controls. A more compact, machine-assembled/printed-circuit-board version of the Beat Machine has also been developed for wider distribution. The instrument offers a range of rhythm‑generation algorithms, including Euclidean [1], polymetric, geometric [2], and probabilistic approaches enabling both organised and chaotic rhythmic organisation. Each Beat Machine can play up to eight parts, with each part independently generated and algorithmically modulated. Parts may vary in length and tempo. All sounds are produced using a shared synthesis architecture that combines established subtractive and frequency‑modulation techniques that lean into a lo-fi aesthetic. Generated patterns and timbres can be triggered at will and edited manually in performance. The instrument’s interface features a compact, circular arrangement of buttons, lights, and dials, visually reinforcing the cyclical nature of the looping sequences that underpin the machine’s beats. Circular interfaces have long been popular for rhythm machines, with examples including the Buchla 252e [3], ndial§ [4], Pattening [5] and Orbita [6]. The interface has been refined through iterative experimentation to provide performers with access to the instrument’s full range of features, while LED colour and animation provide clear, real‑time feedback. The performance is structured as a series of sections, each investigating different musical potentials of the Beat Machine, ranging from energetic, pulse driven material to sparse and atmospheric textures. This performance demonstrates the instrument’s performability in the hands of experienced performers, who also designed and created the instrument.

Citation

John Ferguson, and Andrew Brown. 2026. Quadrumvibrate. Proceedings of the International Conference on New Interfaces for Musical Expression. DOI: 10.5281/zenodo.20782174 [PDF]

BibTeX Entry

@inproceedings{nime2026_music_48,
 abstract = {This performance is a duet which may also be understood as a quartet of interacting human and machine actors. The work explores the sonic and rhythmic possibilities of generated and algorithmically modulated rhythmic sequences that trigger layered, synthesised percussive sounds. Performers shape these processes through direct manipulation and by initiating generative and regenerative processes. The performers each play a NIME called the Beat Machine, which is a bespoke, handmade instrument they designed and built from affordable electronic components, including an ESP32 microcontroller, multiplex chips, accelerometer, and digital to analog converter. It incorporates a LiPo battery and charging circuitry, plus a small amplifier and speaker to support portable performance. The instrument is housed in an elegant, laser-cut wooden enclosure using a living hinge design with panel‑mounted interface controls. A more compact, machine-assembled/printed-circuit-board version of the Beat Machine has also been developed for wider distribution. The instrument offers a range of rhythm‑generation algorithms, including Euclidean [1], polymetric, geometric [2], and probabilistic approaches enabling both organised and chaotic rhythmic organisation. Each Beat Machine can play up to eight parts, with each part independently generated and algorithmically modulated. Parts may vary in length and tempo. All sounds are produced using a shared synthesis architecture that combines established subtractive and frequency‑modulation techniques that lean into a lo-fi aesthetic. Generated patterns and timbres can be triggered at will and edited manually in performance. The instrument’s interface features a compact, circular arrangement of buttons, lights, and dials, visually reinforcing the cyclical nature of the looping sequences that underpin the machine’s beats. Circular interfaces have long been popular for rhythm machines, with examples including the Buchla 252e [3], ndial§ [4], Pattening [5] and Orbita [6]. The interface has been refined through iterative experimentation to provide performers with access to the instrument’s full range of features, while LED colour and animation provide clear, real‑time feedback. The performance is structured as a series of sections, each investigating different musical potentials of the Beat Machine, ranging from energetic, pulse driven material to sparse and atmospheric textures. This performance demonstrates the instrument’s performability in the hands of experienced performers, who also designed and created the instrument.},
 address = {London, United Kingdom},
 articleno = {48},
 author = {John Ferguson and Andrew Brown},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi = {10.5281/zenodo.20782174},
 editor = {Lia Mice and Nicole Robson and Tara Pattenden},
 issn = {2220-4806},
 month = {June},
 note = {Live Performance},
 numpages = {4},
 pages = {201--204},
 presentation-video = {https://vimeo.com/1162979051/e05494ccd4?fl=pl&fe=sh},
 title = {Quadrumvibrate},
 track = {Music},
 url = {http://nime.org/proceedings/2026/nime2026_music_48.pdf},
 year = {2026}
}