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RE: [agile-usability] Iterative user interface design in 1991

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  • Larry Constantine
    Robin, Interesting story, but the value as a case study would be much enhanced with some diagrams or sketches (even if recreations) showing what was meant by
    Message 1 of 3 , Feb 14, 2011

      Robin,

       

      Interesting story, but the value as a case study would be much enhanced with some diagrams or sketches (even if recreations) showing what was meant by the complicated and simplified versions of the display and the evolution of the design. More technical detail of the audio processing technique would also be interesting to at least some readers (count me in). I would guess the illusion of positioning beyond the speakers was achieved by throwing the signals out of phase, but would like to know the real dirt.

       

      At the end of the day, it should not be surprising that the audio engineers essentially relied on sound and not sight as the primary feedback. After all, they are designing an aural experience for listeners.

       

      --Larry Constantine, IDSA, ACM Fellow

        Institute Fellow | Madeira Interactive Technologies Institute | www.m-iti.org

        Professor | University of Madeira | Funchal , Portugal | www.uma.pt

        Chief Scientist, Constantine & Lockwood Ltd

    • Robin Dymond
      Hi Larry, Thanks for the feedback. I left the company in 1998, and the Qsystems as far as I know are long gone. Screenshots would have to come from someone s
      Message 2 of 3 , Feb 16, 2011
        Hi Larry,

        Thanks for the feedback. I left the company in 1998, and the Qsystems
        as far as I know are long gone. Screenshots would have to come from
        someone's photos. The complex UI proposed was a 3D projection of what
        a recording engineer would see. Sitting at a recording console, with 2
        speakers in front and a 180 degree field of view. The processing
        channel was to be represented by a virtual speaker whose position
        (angle) and distance (relative size) were controlled by the joystick.
        Today such an interface would be straight forward. We now have
        libraries like DirectX and openGL, and processors that run at 100
        times the speed of what we had then. The interface we actually
        implemented was a top down view of the speakers and listener. The
        180degree sound field was represented by a trapezoid with speakers at
        the top corners, and the maximum position (-90 to +90) the bottom
        corners. Channels were represent by a simple icon, a crosshair or
        something, can't remember that detail. These were all vector drawn.
        When we ran the system on a color monitor the system had colors,
        decent looking layout, a few screen fonts, ability to draw spectral
        plots, etc. However the monochrome LCD trumped the monitor in terms of
        fitnesse for purpose so color and shading were not displayed.
        The audio processing algorithms were invented by the 2 founders. They
        started with a basic idea. Then they did a long experiment with
        subjects listening to tones played with a phase and amplitude
        differential. They would vary the phase and amplitude differences
        until they found the optimal differential for that frequency. The
        result was a complex stereo filter that would provide a sound image at
        a location. We had 8 imaging filters, though we were able to simplify
        to 4. These systems used FFTs and pretty detailed filters. For video
        games and consumer audio much simpler filters were developed that gave
        the effect but with less accuracy. Still the best sounding stereo
        enhancement in my opinion.

        The techmology for pro audio became a plugin for protools, and it may
        still be available on their DSP farm, not sure.

        Cheers,
        Robin.


        On 2/14/11, Larry Constantine <lconstantine@...> wrote:
        > Robin,
        >
        >
        >
        > Interesting story, but the value as a case study would be much enhanced with
        > some diagrams or sketches (even if recreations) showing what was meant by
        > the complicated and simplified versions of the display and the evolution of
        > the design. More technical detail of the audio processing technique would
        > also be interesting to at least some readers (count me in). I would guess
        > the illusion of positioning beyond the speakers was achieved by throwing the
        > signals out of phase, but would like to know the real dirt.
        >
        >
        >
        > At the end of the day, it should not be surprising that the audio engineers
        > essentially relied on sound and not sight as the primary feedback. After
        > all, they are designing an aural experience for listeners.
        >
        >
        >
        > --Larry Constantine, IDSA, ACM Fellow
        >
        > Institute Fellow | Madeira Interactive Technologies Institute |
        > www.m-iti.org
        >
        > Professor | University of Madeira | Funchal, Portugal | www.uma.pt
        >
        > Chief Scientist, Constantine & Lockwood Ltd
        >
        >

        --
        Sent from my mobile device

        Robin Dymond, CST
        Managing Partner, Innovel, LLC.
        www.innovel.net
        www.scrumtraining.com
        Americas: (804) 239-4329
        Europe: +32 489 674 366
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