This issue’s first article describes an augmented musical instrument—that is, a traditional musical instrument to which modern technology has been added to increase its functional capabilities. The topic on the issue’s front cover, “Rethinking the Musical Interface,” alludes to this article’s stated goal. Whereas many augmented instruments require the performer to adapt to the way in which the traditional instrument has been modified, the authors seek to make augmentation transparent to the musician, requiring no change in performance technique. A few years ago, in CMJ 44:2/3, Chantelle Ko and Lora Oehlberg had published an article on their augmented violin that had a modified, touch-sensitive fingerboard. By contrast, the current authors—Roberto Alonso Trillo, Peter Nelson, and Tychonas Michailidis—focus on the bow. Through iterative design, the authors have created a replacement for the traditional frog, the part of the bow at the end under the performer’s hand. Their frog houses a circuit...

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