A helmet and hand units make up the TRON performance system for a style of music artist Onyx Ashanti calls “beatjazz.” And he’s well on his way to making a reality. All images courtesy the artist.

Onyx Ashanti is insane – in the special, essential way that makes certain brilliant musicians. An experienced busker, having crossed from the US to Berlin, he’s a rare virtuoso of wind instruments and electronic improvisation, the kind of musically-free soul who can just let loose live. But his latest project really crosses into some new territory.

He’s making himself into Tron.

No, really – just having some handheld touch control wasn’t enough, so he’s preparing an open source, wearable rig. He’s hardly the first to attempt this sort of thing, but he has two major advantages: first, he’s already developed the musical idioms and chops he needs, rather than leaving that for some indeterminate time after the thing is built. Second, he has on his team not only himself, but people with experience in prosthetics, plus the co-founder of Ableton. And the work isn’t just a crowdsourced pipe dream: it’s already well on its way.

I could try to describe it all, but this is a project only its mad-scientist, mad-musician creator can really do justice. So I’ll let Onyx take it away.

My Name is Onyx Ashanti. I am a Busker, Author, Beatjazz Artist.

Beatjazz is a term and style of music i came up with back in the late 90s, which described my playing of my wind MIDI controller with beats I had pre-programmed into Fruity Loops [now FL Studio]. That was cool for a while, but as time went on and I got older, It became boring. I wasn’t writing new beats as often as i should have. I had an Ableton phase which gave me a different means of using beats as a sort of hybrid, chopped-up DJ/live set kinda thing, but i got bored of that, as well. It wasn’t until a family tragedy that I realized that it was time to walk that tight-rope, in a sense, to do the weird and the crazy stuff that you convince yourself not to, for the various reasons you give yourself. So beatjazz evolved into a beat-centric form of live music based on live looping, software synth-based sound design, and jazz improvisation. That was three and a half years ago.

A concept for a handheld unit.

It wasn’t easy. It took a year just to get proficient enough to play beats live without a metronome using the wind controller. But after that, Beatjazz evolved in ways i couldn’t have imagined — styles of music that I may have heard once in my life, springing out of one of these extended improvised sessions, which sounds oddly like DJ sets in their continuity.

Over time, I have outstripped the capabilities of my [Yamaha] WX5 wind MIDI controller. It was not designed to do multi-elemental improvisation. There are many things to do and keep track of during a live beatjazz performance, so I have, over the last few years used a wide variety of different secondary controllers, such as the M-Audio Trigger Finger and the Korg microKONTROL, but found them all to be to distracting in performance. A wind midi controller is constructed like a horn. It looks like a clarinet, and as such, it’s hard to play and simultaneously tweak a knob on a secondary controller, because your hands need to be on the horn. And I never liked foot pedals, especially in clubs, because they limit my movements to a very small area — and get drinks spilled on them CONSTANTLY.

Playing live with TouchOSC.

Last winter, I started experimenting with using TouchOSC, interfacing with [open source multimedia development environment] Pure Data on my computer, as a gestural controller. In that way, I could simply wave or shake my hand and control many parameters at once, which opened up many new stylistic trajectories that are still very exciting — so much so that I can’t do what I consider to be “my music” without an iPhone running TouchOSC strapped to the back of my hand. This is great and very cool, but isn’t optimal because there are so many gestures I have created and only one accelerometer/GUI, so I set out to design a system that was designed specifically for the presentation of beatjazz. The result is the TRON Beatjazz controller system.

Helmet for Onyx’s “TRON” system.

I called it TRON because the system is made up of three main components; a helmet (above) and 2 hand units (top). Each unit is wirelessly connected to the computer. The hand units together are “fingered” the same way one would finger a saxophone or a clarinet, known as the “Boehm” fingering method [see video / below], but the hands do not have to be in a stationary “horn” position the way they are with those instruments. Each hand will have switches for keys, a joystick, an accelerometer, and a color synthesis system based on RGB LEDs to tell the audience what element i am playing (for instance, blue for bass and green for drums,etc). Part of the performance of these units is hand motions very similar to that of a raver using glowsticks (image below), which results in light trails reminiscent of the light effects from the movie TRON.

The fingering scheme in the testing phase, video above; light trails, top.

The purpose of this system is to provide a complete live performance system that incorporates lights, sound, and dance in one cohesive new form. The helmet, which looks like an afro, is made of carbon fiber and will house lip and breath sensors, a wireless microphone system, in-ear monitoring with ambient mics (so I can hear things around me without taking the helmet off), a digital compass for directional processing, an accelerometer, and two very powerful PC fans so I don’t have a heat stroke while wearing it. Why have a carbon fiber helmet? Primarily because a friend who is a professional creator of artificial limbs offered to help me make use of the material, and also because it’s durable and very lightweight. Oh, and I almost forgot — BECAUSE ITS f&%(ING CARBON FIBER! It’s the coolest-looking material on Earth! Ahem.

The brains of the system will reside on the host computer by way of Pure Data [above]. This is for two main reasons. First, as I stated above, I get bored easily. This system will be permanently malleable. Since the controller is just a wireless array of sensors, I can change and adapt them to do many thing I can’t imagine at this time, which leads to the other reason:

This is an open source project. This system would not be possible without open source software and hardware in the form of Pure Data and the many Arduinos that will make up the core components of this system. I am releasing all notes associated with this project once it is completed, as well as detailed notes on the concept and methodology of Beatjazz. By keeping the brains on the computer, by design, the concept should evolve exponentially in multiple directions. People can use these notes and patches as a jump off point for their projects, and it is also a not-so-subtle way of spreading the gospel of open source, of which I am a zealot.

The Arduino platform at the heart of this project enables the use of wearable sensors, and – along with Pd software – makes it possible to release the results as a reproducible, open source set of instructions.

Beatjazz is part of an atomization of sound culture. It is pure, computer-enabled improvisation. I never know what I am going to play onstage, even while I am playing. I combine the vibe in the room with what I am feeling at the moment, limited only by my skills and my sound set, and construct/deconstruct a narrative that provides a singular soundtrack for that moment. It may come out as house or be-bop or latin jazz — that’s the point, I have no idea, and it is very exciting.

I am doing this project now because, for lack of a better way of putting it, it’s just time! I’ve “practiced” for 20 years. This is the stuff i grew up dreaming about. When you reach a point in your life where you have the skills and the determination and the “people resources” to make something actually happen, you have to act! I have direct access to some of the most amazing people with the skills that make this a much more viable project.

Uli Maier is the Prosthetist (video above) that is helping me cast the molds we will use for the helmet and hand units. Chris “Loganic” Logan draws the ideas out in a form that conveys exactly what i see in my head, Tomas Henriques is wind synthesis legend, having already created the Meta-EWI [customization of the Akai wind controller] and the award-winning Double-Slide controller and Native Instruments co-founder Stephan Schmitt is offering to help me design the custom looping system that will form the backbone of the system. (The controller is open source, not the synths and looping system — yet.) I’d be mad not to go for it with all of these stars aligned at one time! These are just a few of the people that make the project real.

Prosthetic expert Uli Maier is contributing to the prosthetic elements of the performance rig, as sketched here.

This is the most exciting thing I’ve ever been part o, as an artist, but its also, by far, the most expensive, so i am “crowdfunding” it through indiegogo.com, which is another amazing aspect of the modern Internet — the ability to bring people directly into this project that may be really interested in it. I have a created a wide array of “perks”, i.e. cool items in exchange for contributions to this campaign. From an exclusive EP of the twisted beatjazz that I will create with the new system ($5-available in late May), at onyxashanti.bandcamp.com, to a hand-bound copy of my book entitled “The 21st Century Musicians Guide to Busking” ($50, completion by late March). Options go all the way up to various versions of the controller system itself, in wired and wireless varieties, including the $5000 “Ultimate Package” in which you get the same carbon fiber controller i am making for myself (with a different helmet). I will it deliver to you personally, spend two days teaching you how it all works, and then you and I will give a concert for your friends and family! See: www.indiegogo.com/tronbeatjazz.

I have been told that saying that I want to create “the most amazing live music performance system ever” is a bit “bombastic”. But I wouldn’t say it if it weren’t the intended goal and if it didn’t think it were possible.


An early prototype, repurposing a bottle.

Mold-making, in process.

Prosthetic brace.
  • CV

    Onyx did a lot of the programming for the Soul II Soul albums. I was lucky enough to see him do some of his live beatjazz busking in San Francisco. I'm looking forward to seeing this project progress

  • This guy is crazy. I once met him, his laptop and accessoires in a street of Berlin. I just listened to one or two songs and bought his album but I'd never have thought that there's so much behind.

    I was kind of shocked to read things about him right here …

  • mark

    Onyx is a super cool super talented guy.  I can't way to see how this project unfolds.  Nice work!

  • dd

    written like he's THE guy who doing these kind of things…alternative DIY controllers are everywhere nowadays, it is really hard to surprise somebody with Arduino in your setup…just another way to sell himself, that's how it looks for me…i don't care if he will install something in his anus or whatever as long as music is on the second place, technology is the tool, art is the goal…

  • astronout

    Wow dd.  What are you doing?  Shoving the Simpsons up your ass on a Sunday night?  There's people out there pushing the boundaries of technology.  go with it man.  don't diss…

  • @dd Music is never second place.  

    did you know that towards the end of John Coltranes life, according to the book about his life and music, "John Coltrane; the story of a Sound", he had become exausted by the limitations of his instrument, which led to some of his more profound and controversial sonic experiments.  the point of the project is not to say "hey, i use arduino!", the point is to create a musical system that allows me to create my music in a manner that is most natural to me AND use arduino and open source software so that i can share my project for others benefit in the same way that previous arduino/OSS experiments inform my project.

    if i can sell "me" in the process, thats just a benefit. i will save the anal sensors for the Mk II version.

  • akrylik

    onyx, the eigenharp needs you.

    eigenharp, sponsor onyx before you slide into oblivion.

  • john

    Im sure the Eigenharp could rule out the need for the gloves or helmet.

  • @john what the fun in that? 😉

  • hey onyx
    dude…did u come up with the helmet idea to protect urself from the eggs ?
    or because u just come back from IRAQ ?
    def something bombastic.

    I would dig a clitorid sensor more than the ass one. 😀

  • so when she comes…the pitch goes up…and up…and the filter is opening too…
    marvel !

    doen with arduino off course

  • hahaha!! be very careful what you wish for these days. next thing you know, its on sale at amazon. hmmm actually&nbsp ;http://www.thetoy.co.uk/

    the helmet serves two purposes. 
    one. aesthetic. its a visual metaphor meant to convey the vibe to come,which currently is afro-futurism as described in Kwodo Eshun's book "More Brilliant Than The Sun".  my current helmet definitely tells audiences that although there is a horn, there is no easy listening or smooth jazz popping.  it snaps people out of their expectation and into your concept. it helps create a mental "blank slate" that you can paint on.  nothing says beatjazz like a carbon fiber afro helmet.

    two. functional. it will house minature versions all that crap that we usually wear on belt packs; In ear and mic trancievers as well as the interface for lip and breath pressure, with a common battery pack for all of them. .
    there will be space for an ipod touch running touchOSC because touchOSC provides visual feedback of data sent from pure data,which, when combined with a personal media viewer, will make a great heads up display for all relevant data., hence the goggles. and so as to not have a heat stroke while wearing this thing, i have sourced 3 bad-ass computer fans to keep everything nice and cool.
    With the helmet concept, i have one nice clean aesthetically interesting place to house everything.  and with the HUD, i dont have to look at the computer at all the entire night.

  • thanks for the long answer
    i thought that was practical…I would have chosen a hat less militaristic…

    I was wondering…would you be up to get an arduino implant in your brain cortex when this will be available…(pretty soon i reckon)…?
    that would make all this interfaces useless…innit ?

  • hell no. if i get something implanted in my head, its gonna be a hell of alot faster than 16mhz!

  • program

    man, i wouldn't put all those electronics in the helmet. you're going to give yourself brain cancer or something.

  • LTP3000

    one step further to teh ultimate midi exoskeleton… or osc skeleton
    any body movement, temperature change and neural activitity is translated into reaaly fency sound and beamers coming out of your chest, doing weird projection mapping on peoples faces.

    jea, but this is also nice!

  • @program maybe…ialready take IP6 daily, so a bit more to guard against too much radiation from this thing, is well worth it.

    @ltp3000 who knows. something like that may be interesting but just buying and getting the these first few components working properly first, opens the door to many ideas.  with the whole system being based on Pure data, anything can be incorporated. right now, i am trying to build a wireless network of 4 "nodes"(helmet, two hand units and a base station) but the system could accomodate many more, inputing many more sensors from many more places; wifi, GPS, GPRS, temperature…anything that can be measured by a computer can become a (wirelessly disembodied) part of the instrument.  right now, the goal is to get it out of the lab and into the real world, hopefully before my performance at CeBit in Hannover on March 1st.

  • "and a color synthesis system based on RGB LEDs to tell the audience what element i am playing (for instance, blue for bass and green for drums,etc)"

    I love this. We need more visual indicators to help our audiences realize what the heck it is we're actually doing with all our technology.
    That was actually the main thought I had reading about MOMO THE MONSTER's awesome video/sound integration project. The correlation between visuals and music is awesome and the modular nature opens up a world of possibility, but having some sort of indicator of what the musicians are actually altering from the song live would put things over the top. Be great for DJ's too. 
    But I digress. Amazing project. Can't wait to see it in action.

  • yeah, between studying research into synesthsia and doing alot of acid and mushrooms over the years, i think i should be able to create a parallel light narrative to go along with the music…thats the tagline anyway…

    thanks man. I am really excited now.  the campaign just ended and i feel like i can create something in the short and long term that will be artisitcally inviting.  i cant wait to drop this on people!

  • @Onyx Ashanti You went through the same process I did at performing live with a computer and came to the same conclusions: playing with laptops sucks, most computer hardware is not tough enough for road use, most music software is not geared for non screen based usage, etc. It's also cool to see you came to the same conclusions: go wearable and create your own software (via PD) and hardware:&nbsp ;http://danomatika.com/media/projects/s2007/thesis/dwilcox_thesis_arttech_07.pdf

    We should get together and powow. I have a PD based setup running on a wearable and can clean up the code for release (been meaning to do it for a while now).


  • Cool, you also want to make your motions and actions apparent, the same idea I've been using with the robotcowboy helmet:&nbsp ;http://www.youtube.com/watch?v=CuuJkE789ag

  • oh, yes! we must meet! hahaha! that was great! peeped ur vid.  you already know…wearable alternative controllers are the new turntables!  i have read that innovation doesnt happen in a vacum. and similar innovations happen in parallel.  we should talk shop and maybe do a little cultural exchange; you come to Berlin and i come to sweden. we probably wont get rich, but if that were the goal, we'd probably be doing sommething other that trying to strap gadgets to ourselves!

  • Sounds good. I'm from the US and will be in Berlin this summer, so we should definitely meet up.

  • i am also from the US and live here now so lets make it happen! i'm reading your dissertation now. very interesting so far.

  • man that is awesome! very organize, fantastic. I love it!