Since the last report, we have focused on filling in the technical foundation of our project and refining the implementation aspects outlined in our design report. We expanded our knowledge/research base — our report includes close to 30 sources covering topics such as gesture recognition methods, ESP32 communication protocols, and interaction design for musical interfaces.
We also developed a testing plan by working with Prof. Dueck’s class in the School of Music. The plan includes how we intend to evaluate our system with music students, what types of tests are feasible given the timeline and completeness of the project, and who will be involved. We designed this plan to give us enough time to work with the students from the school of music, and the full schedule and testing outline are linked here for reference.
In terms of design changes, we decided to pivot from detecting individual finger positions to mapping hand gestures to chords. Through our early prototypes, we realized that identifying which single finger was bent was really difficult because it’s a hard motion for users. The new approach simplifies the interaction, making it easier for players to use while still allowing for expressive chord selection within a given key.
Finally, since this week coincided with fall break, our active implementation work was slow. Our next steps will include integrating the IMU and touch sensor setup, refining the gesture detection pipeline, and beginning preliminary testing to validate our design choices.
A was written by Lucy.
A: The AIR system addresses a global need for accessible and inclusive music creation. Around the world, many people face barriers to learning traditional instruments due to high costs, limited access to instruction, or physical constraints. By combining gesture recognition and motion sensing into an intuitive wearable, AIR enables users to play and experience music without the need for conventional instruments. Its design focuses on lowering the entry barrier for creative expression, making it suitable for individuals in diverse socioeconomic and educational contexts.
The system’s universality also supports global deployment. Since AIR relies on open-source frameworks like MediaPipe and PyAudio and uses affordable, widely available components, it can be reproduced and adapted across regions regardless of local technological infrastructure. This approach aligns with worldwide movements toward accessible digital arts and creative education. By emphasizing inclusivity and adaptability, AIR offers an innovative platform that fosters musical participation across diverse cultures, geographies, and abilities.
B was written by Alexa.
B: Our product will meet a specified need of cultural factors because it aligns with a set of beliefs in the modern world’s culture: we believe music is worth spending time and energy on and that people of all physical and mental capabilities deserve to enjoy music. This means that our AIR Product can bridge a gap for people who don’t have the same physical capabilities to play acoustic instruments using movement.
C was written by Taj.
C: On the surface level, AIR does not directly relate to the environment as it is a musical interface. However, its design choices have environmental benefits. By replacing a large, materials-intensive wooden or metal instrument with a compact, low-power electronics module, AIR reduces raw-material extraction, machining, and shipping mass. The bill of materials is intentionally small, with options for recycled housings, standardized fasteners instead of permanent adhesives, and a single rechargeable li-ion cell that keeps operational energy low.
AIR is also designed for longevity and end-of-life recovery to cut potential e waste. This is because the battery is replaceable, modules are swappable, and firmware updates extend useful life without new hardware. If we were to package it, AIR would require less packaging than a traditional instrument, and we would use right-sized, fiber-based packaging that avoids foams and excess inks. Taken together, lower material intensity, low operating power, modular repairability, and reduced packaging point to a smaller lifecycle footprint than conventional guitars that rely on larger wood and metal assemblies and often require additional powered accessories.