Fingerprint one to four are impromptus created out of enthusiasm when Roel Vertegaal and Tamas Ungvary got together in August 1993 in Vienna to try out a beta version of the Intuitive Sound Editing Environment (ISEE), discussed on pages 21-29 of Computer Music Journal 18:2. (The CD included with Computer Music Journal Volume 19 (1995) contains Fingerprint No. 2.) 
In these impromptus the border between the church organ and computer music domains seems to fade. These pieces were edited out of several spontaneous recording sessions. During those recording sessions, two FingerprintR´s (Sentographs) were connected via a FaderMaster to an Apple Macintosh running IGMA (Interactive Gesture MApping) and ISEE programs parallel controlling a Yamaha SY99 synthesizer. One of the Sentographs (FingerprintR)  controlled IGMA parameters, the remaining three  outputs of the second Sentographs were used to change the Overtones, Brightness and Articulation parameters of a selection of Open Labial, Lingual and Compound organ instrument spaces created for me by Ernst Bonis in Holland. These organ instrument spaces were implemented on the SY99, respectively using waveshaping, FM and complex waveform additive synthesis. 
The most important ISEE parameter, Overtones, altered the phase of the waveshaping transfer function in the Open Labial spaces, the c:m ratio in the Lingual spaces and the complex waveforms used in the Compound space. Brightness controlled the input function amplitude and the pitch of the inharmonic organ 'spook' in the Open Labial spaces, the modulation index in the Lingual spaces and the low-pass filter cutoff frequency in the Compound space. Articulation controlled the harshness of the attack by changing the 'spook' level and the envelope attack rates. All parameter information was processed in real-time by the SY99.

Fingerprint#1

Fingerprint No. 2 exemplifies what two finger tips, moving together in 6 degrees of freedom, can get up to, in a well-structured way controlling over 30 parameters at once in real-time. We hope it also demonstrates what regular MIDI hardware is capable of, given the right tools.

for detailed information see : https://soundcloud.com/tamas-ungvary/fingerprint1

Fingerprint#2

Fingerprint No. 3 is one of the first four impromptus created in August 1993 in Vienna. when Roel Vertegaal and Tamas Ungvary got together to test the beta version of the Intuitive Sound Editing Environment (ISEE), discussed on pages 21-29 of Computer Music Journal 18:2. (The CD included with Computer Music Journal Volume 19 (1995) contains Fingerprint No. 2.) 
In these impromptus the border between the church organ and computer music domains seems to fade. These pieces were edited out of several spontaneous recording sessions. During those recording sessions, two Sentographs (FingerprintR) were connected via a FaderMaster to an Apple Macintosh running IGMA (Interactive Gesture MApping) and ISEE parallel controlling a Yamaha SY99 synthesizer. One of the Sentographs controlled IGMA parameters, the remaining three  outputs of the second Sentograph were used to change the Overtones, Brightness and Articulation parameters of a selection of Open Labial, Lingual and Compound organ instrument spaces created by Ernst Bonis (Holland). These organ instrument spaces were implemented on a Yamaha SY99, using its waveshaping, FM and complex waveform additive synthesis capabilities. 
The most important ISEE parameter, Overtones, altered the phase of the waveshaping transfer function in the Open Labial spaces, the c:m ratio in the Lingual spaces and the complex waveforms used in the Compound space. Brightness controlled the input function amplitude and the pitch of the inharmonic organ 'spook' in the Open Labial spaces, the modulation index in the Lingual spaces and the low-pass filter cutoff frequency in the Compound space. Articulation controlled the harshness of the attack by changing the 'spook' level and the envelope attack rates. All parameter information was processed in real-time by the SY99.

Fingerprint#3

for explanation see : https://soundcloud.com/tamas-ungvary/fingerprint3

Fingerprint#4

Fingerprint 5 is improvisation using piano sounds (MAC Iifx with Proteus synthesizer card) controlled by computer software and specially designed input devices . Fingerprint No.5 has been  recorded at a public concert using by the first experimental software/hardware setup supporting the Sentograph. The Sentograph I touched with my middlefinger of my right hand. With the  other fingers I pushed the buttons of the two small keypads we constructed and placed in the immediate neighbourhood, round the button of the Sentograph. With the left hand I had the possibility to pull a number of sliders. At the performance I relied mainly on the Direct Manipulation Dialog, in which I could manipulate the underlying data with human movements, with gestures.

Fingerprint#5

Fingerprint No. 6-9
The sounds material to these Fingerprints has been recorded during a testing phase of an early version of the IGMA (Ungvary/Kieslinger) software. We used the Korg Wavestation SR and Proteus 3XR for sound production based on the control of only one Sentograph. The sound material has been edited and mixed in order to create these etudes.