# Long-Term, Store-Front Robotics: Interactive Music for Robotic Arm, Caxixi
and Frame Drums

###### Abstract

This paper presents an innovative exploration into the integration of
interactive robotic musicianship within a commercial retail environment,
specifically through a three-week-long in-store installation featuring a UR3
robotic arm, custom-built frame drums, and an adaptive music generation
system. Situated in a prominent storefront in one of the world’s largest
cities, this project aimed to enhance the shopping experience by creating
dynamic, engaging musical interactions that respond to the store’s ambient
soundscape. Key contributions include the novel application of industrial
robotics in artistic expression, the deployment of interactive music to enrich
retail ambiance, and the demonstration of continuous robotic operation in a
public setting over an extended period. Challenges such as system reliability,
variation in musical output, safety in interactive contexts, and brand
alignment were addressed to ensure the installation’s success. The project not
only showcased the technical feasibility and artistic potential of robotic
musicianship in retail spaces but also offered insights into the practical
implications of such integration, including system reliability, the dynamics
of human-robot interaction, and the impact on store operations. This
exploration opens new avenues for enhancing consumer retail experiences
through the intersection of technology, music, and interactive art, suggesting
a future where robotic musicianship contributes meaningfully to public and
commercial spaces.

Figure 1: Photo of store-front display Figure 2: In-shop view of the
installation

##  1 Introduction

The integration of interactive music systems and robotic musicianship into
commercial retail environment is a largely under-explored area [1]. More
commonly, such systems have been confined to laboratory settings or specific
art installations and performances, where the controlled conditions differ
vastly from the unpredictability and diversity of the real world [2]. Robotic
musicians however have extensive potential in the real-world to engage with a
range of audiences.

This project centers around a three-week-long interactive in-store
installation featuring a UR3 industrial cobot (collaborative robot) arm,
custom-built frame drums, and an adaptive music generation system. The store
front was in the city center of Sydney, Australia at AESOP, Pitt St. The
installation was designed to interact with the ambient soundscape of the
store, creating a dynamic and engaging musical experience for patrons. This
paper demonstrates the technical feasibility of such an integration and also
explores the artistic and commercial implications of embedding interactive
robotic musicianship within a retail environment.

This project’s core contributions include the development of a robotic arm
integrated with actuated frame drums to forge a distinctive musical
instrument, deploying interactive music to elevate the commercial store’s
ambiance, and showcasing the robotic system’s resilience through its
uninterrupted operation for a three-week span. Crucially, the project
navigated the retail environment’s unique challenges by prioritizing system
reliability to avoid any disruptions or negative impacts on the customer
experience.

We also delve into the critical outcomes and reflections arising from the
deployment of our interactive music system in a commercial context. Central to
our discourse are the pivotal themes of system reliability, the nuanced
dynamics of human-robot interaction within the retail sphere, and the
implications of robotic agency as perceived by store staff and patrons. We
finally explore the strategic design choices that underpinned the system’s
integration into the retail environment, ensuring its alignment with the
store’s brand identity while enhancing the customer experience.

##  2 Related Work

###  2.1 Robots, Music and Retail

Recent studies have increasingly recognized the transformative potential of
robots in retail environments, primarily focusing on their ability to enhance
customer engagement and sales [3]. These include applications to enhance
physical shopping experience, such as recommendations on purchases [4]. It is
unclear however, the extent to which robots can impact the shopping
experience, with studies not pointing to clear findings about best practices
to engage customers [5]. Some studies have used robots specifically for
entertainment, such as SoftBank’s Pepper Robot, to quiz customers about the
store inventory [6].

Music plays a pivotal role in shaping the retail atmosphere, with many
businesses curating licensed playlists to influence consumer behavior and
enhance the shopping experience [7]. Music has been shown to improve product
evaluations and behavioural results in retail when effectively used, both
through music choice and volume levels [8]. Like music, the strategic design
of store-front displays is crucial in attracting customers and establishing a
store’s brand identity [9] and is extensively researched [10].

###  2.2 Robotic Musicianship

Robotic Musicianship encompasses a multifaceted area of research that
integrates musical mechatronics - concerning the mechanical systems that
produce sound - and machine musicianship, which involves the development of
algorithms and cognitive models for music perception, composition,
performance, and theory [11]. Drumming and percussion playing robots are
likely the most widely addressed area of robotic musicianship. Projects have
include egg-shaped rattles and drums controlled by direct actuation mechanisms
[12]. Many systems have been built that use solenoid motors for various
percussion[13]. Recent approaches have focused on techniques such as using
Brushless Direct Current (BLDC) motors for high speed and dynamic range [14].
Other projects have focused on adding extra degrees of freedom, allowing for
variation in where the drum is hit [15] or adding a flexible joint to the
system to improve drum roll performance [16].

There have also been multiple projects extending findings from robotic
musicianship into other fields. These include using approaches from robotic
musicianship for real-time music generation to interact with individuals to
complete basic tasks [17, 18]. Other applications include in education for
children with autism [19] and custom devices for interaction [20]. This body
of work, spanning from the development of percussion-playing robots to the
application of these technologies in educational and therapeutic contexts,
showcases the versatility and potential impact of robotic musicianship beyond
traditional performance settings.

##  3 Frame Drums

For this system, we chose to focus on the frame drums, selected for their
versatility and adaptability to diverse musical styles, which aligns with the
objective of creating an interactive music system that resonates with a broad
audience. Their wide range of sizes and tunings, coupled with a potential
uniform hitting mechanism, enabled the integration of these instruments into
the robotic setup without necessitating significant alterations for each drum
size.

The physical design of the frame drum actuation system incorporates motors
equipped with dual beaters, enabling hits on both the rim and the interior
surface of the drum (see Figure 3). This design choice expands the tonal
possibilities while also clearing displaying movement to the audience, through
longer than required beater arms. Cabling for the actuation mechanism is
routed through the beater holder, to maintain a clean appearance. The drums
are positioned at a slant, primarily for aesthetic reasons, to draw attention
to the central robotic arm and create a visually engaging setup that
complements the store’s ambiance.

Figure 3: Close-up view of the drum actuation mechanism

The actuation mechanism is powered by six Dynamixel XC430 W240 T motors,
controlled through a U2D2 motor controller. This setup facilitates precise
control over the drum strikes, with each motor’s range of motion pre-
configured and stored within the motor’s firmware. The entire system is
managed via a Linux-based control platform, utilizing Python for motor control
and system integration. This approach allows for real-time adjustments and
synchronization with the central robotic arm, ensuring a cohesive performance.

The control software is designed to interface directly with the U2D2 motor
controller, enabling dynamic control of the drum actuation system. Python
serves as the backbone for the software architecture, providing a flexible and
powerful tool for programming the musical sequences and integrating the frame
drums with the broader system. This software layer is critical for achieving
the desired musical output and ensuring that the frame drums contribute
effectively to the interactive music experience.

The integration of frame drums into the robotic music system was designed
around best practices for robotic musicianship, focusing on displaying
movement to humans, even if at the cost of mechanical efficiency. This design
choice reflects the overarching goal of the project: to create an engaging and
immersive musical experience that leverages the unique capabilities of robotic
systems while respecting the aesthetic and acoustic properties of traditional
instruments.

(a)

(b)

Figure 4: Robot arm simulation and hardware setup. Figure 5: Motion capture
system for recording human percussionist. Figure 6: Flowchart of system

##  4 Robotic Arm Percussionist

For imitating a percussionist playing the caxixi, we utilised an off-the-shelf
UR3 robot arm which is designed to be safe to operate around humans due to its
auto-shutoff capability which utilises internal force sensing to detect
unexpected external forces, such as colliding with an object. The UR3 is a
highly capable robot with six degrees of freedom (DOF) which means that it can
reproduce any arbitrary motion, within its workspace and motor limits, that a
human can perform. Robotic arms have recently been used in multiple musical
works, such as guitar performance and to convey dancing [21].

The caxixi was attached to the end effector of the robot using a 3D-printed
mount, shown in Fig. 4(a). To execute motions on the arm we utilised Robotic
Operating System (ROS) [22] which has ready-to-use robot specific drivers. To
simulate the robot and environment we used Pybullet [23] with OpenAI Gym and
IKFast plugin [24], shown in Fig. 4(b). This was used for ensuring the
commanded trajectories were executable and also for avoiding environment
collisions.

To program the playing of the caxixi we utilised a recording of a human
percussionist using a VICON motion capture system. We track the trajectories
of the both the percussionist’s back palm and the caxixi relative to their
shoulder. The marker setup is shown in Fig. 5. The VICON captures 3D position
and orientation, which we refer to as a pose, at 300 Hz.

To reproduce this trajectory on the robot arm we utilise Gaussian process (GP)
regression, a non-parametric probabilistic interpolation method [25]. First a
GP is fitted to the trajectory and then using GP regression a smoothed out
trajectory of poses at any arbitrary time sequence can be generated. The
amount of smoothing can be controlled by adjusting the length-scale parameter
of the GP kernel which is useful for ensuring the trajectory is executable on
the robot arm which has physical joint velocity limits. More details can be
found in [26].

We then took three snippets from this recording with different rhythmic
signatures and then translated this motion to the robot arm. For mapping this
trajectory to the robot arm we calculate the inverse kinematics solutions for
each pose. Since a 6-DOF robot arm can produce multiple solutions for the same
pose, for example elbow-up or elbow-down, we bias these solutions to be
visually close to the natural configuration of the percussionist’s arm. The
robot arm also has an option of moving to a random pose to emulate a lively
feel. For ensuring executability, we experimentally chose a GP kernel length-
scale which ensured the arm did not violate its joint limits or cause an
unintended safety stop.

##  5 Music Analysis and Generation

For the music analysis and generation component of the installation, Pure Data
(Pd) was selected for its ability to run on linux. The decision to utilize
Pure Data (over pure Python) was also motivated by its capacity to provide a
straightforward interface for store staff, ensuring that the system could be
managed and troubleshooted with minimal technical expertise. This aspect was
crucial for maintaining the system’s operational integrity throughout its
deployment in a commercial setting.

The Pure Data patch designed for this project was intentionally kept simple,
focusing on stability and ease of use. The primary goal of the patch was to
analyze the in-store music in real time and output two key pieces of
information: the beats per minute (BPM) and the density of the music. This
simplicity in design was essential for ensuring that the system could remain
functional over extended periods without requiring complex interventions and
avoiding (or at least lowering) the chance of crashing.

The analysis process begins with a volume threshold mechanism. If the in-store
music’s volume falls below this threshold, the system remains inactive,
ensuring that the installation does not generate output in the absence of
sufficient audio input. For detecting musical onsets, the patch employs the
Bonk object, a widely used tool within Pure Data for onset detection. The
number of detected onsets over time is then used to calculate the density of
the music, providing a measure of its rhythmic complexity.

To determine the BPM of the in-store music, the patch utilizes the Beat object
from the ELSE library by Alexandre Torres Porres. The patch monitors the
stability of the detected BPM, and in cases of significant variation that
suggests instability, it temporarily ceases to generate musical output. This
safeguard ensures that the installation’s responses are musically coherent and
aligned with the ambient music.

After analyzing and detecting the BPM and density, a Python script creates
drum rhythms. The generative systems uses a stochastic model that operates on
the incoming level of density, combined with a random value for syncopation.
Utilizing these parameters, the system allocates drum strikes across a two-bar
grid, determining positions for drum hits. Elevated levels of syncopation
facilitate an increased frequency of placements off the beat, whereas density
levels dictate the quantity of notes generated. Subsequently, each note is
given a probability of being played during each cycle. This secondary layer of
probability ensures a continuous variability in the rhythm.

The design of the Pure Data patch was designed for flexibility to accommodate
the diverse range of music played in the store, which included genres as
varied as classical, jazz, pop, rock, and soundscapes. By focusing on the
fundamental aspects of music analysis—tempo and density—the system was
equipped to adapt to this wide array of musical styles. This adaptability was
key to achieving the project’s objective of enhancing the retail environment
with an interactive musical experience that could dynamically respond to the
store’s soundtrack, regardless of its genre.

##  6 System Integration

The integration of the interactive music system is orchestrated through a
central Linux laptop, which serves as the center for all operations. This
centralized approach ensures cohesive control and synchronization over the
system components. Audio input is analyzed by a Pure Data patch, which creates
the density and BPM that are then streamed to a Python script. The script
interprets the BPM and density data to generate a rhythmic grid for the frame
drums, using a rule-based system to create varying patterns. This rhythmic
grid, structured as a 2-bar pattern repeats until there is a significant
change in music density or when it has played for 32 bars, and dictates the
activation signals for each frame drum hit and the robotic arm movement (See
figure 6). The robot arm is sent either an instruction to play one of the
three caxixi rhythms, or to move to a random pose in-time with the beat. The
random pose ensures that the robot is relatively active, while not constantly
playing the caxixi and distracting from the retail experience.

One of the critical challenges in system integration is ensuring the
synchronization of musical output with the detected beats. This requires
considering any digital latency and accounting for the physical time required
to actuate the frame drums and robotic arm. To manage this, the system
implements a delay strategy for playtime, by the distance between each beats
minus 120 ms, accounting for the movement time and system latency. This
formula ensures that the actuation of the drums and robotic arm is precisely
timed to match the rhythm of the music being analyzed.

To enhance the system’s usability, especially for staff, auto-run scripts are
configured on the desktop of the central Linux laptop. These scripts enable
easy system start-up and restart, ensuring that the interactive music
installation can be maintained with minimal effort and technical knowledge.

##  7 Live Performance

Figure 7: Human-robot live band performance

In conjunction with the installation, a special three hour live performance
was organized towards the project’s culmination (Fig. 7). The primary
objective of this event was to explore the acoustic dynamics of the space
further and to highlight the installation’s presence and capabilities. This
initiative served not only as a demonstration of the system’s versatility but
also as an opportunity to engage the audience directly with the interactive
elements of the robotic musicianship in a more pronounced and focused setting.
We invited musicians to improvise on violin, alto saxophone and djembe.

From a technical standpoint, modifications to the setup for the live
performance were minimal. The key change involved the integration of a Rode
Bluetooth clip-on microphone, which was employed to capture the audio from
live musicians. This adjustment facilitated a direct and seamless connection
between the musicians’ performances and the installation, allowing the system
to process and respond to live musical input in real time. The live
performance was an exploratory venture into the soundscapes that could be
generated within the given space, involving all combinations of the three
instruments. This exploration was aimed at showcasing the dynamic interaction
between human musicians and the robotic installation, drawing attention to the
robot’s role as an autonomous performer.

##  8 Discussion

This section reflects on the key outcomes and insights derived from the
deployment of the interactive music system in a commercial storefront,
emphasizing the significance of reliability, the perception of robotic agency,
the dynamics of store operations, and the strategic design choices that
influenced the system’s integration and reception.

###  8.1 Reliability is Key

The operation of the interactive music system underscored the importance of
reliability in public installations. Continuous operation without technical
failures not only ensures the system’s viability as a permanent fixture in a
commercial environment but also builds trust and acceptance among the staff
and patrons. We heard from staff that past installations in the space have
been left not running after requiring constant intervention. Throughout the
three weeks the frame drum continued to work, with the arm stopping only three
times, likely due to a safety stop as a customer touched the arm.

###  8.2 Perceived Robotic Agency and Human-Robot Interaction (HRI)

During the course of this project, a significant observation was made
regarding the staff’s interaction with the robotic elements within the retail
environment. The staff’s practice of anthropomorphizing the robotic
system—evidenced by them assigning names to the robot and engaging with it on
a daily basis—highlights a deep-seated human tendency to attribute human-like
characteristics and agency to non-human entities. This behavior is not only
indicative of the staff’s acceptance and integration of the robot into their
social space but also underscores the crucial role of anthropomorphism in
fostering meaningful interactions between humans and robots, a phenomenon
well-documented in the broader field of HRI [27].

We believe the inclination of the staff to engage in anthropomorphic behavior
towards the robot was significantly influenced by the robot’s interactive
capabilities and its designated role within the retail environment. We noted
on visiting that staff would note when the music stopped and discuss with Gary
what the next song would be. Such interactions suggest that the perceived
intelligence of the robot, along with its relational attributes—manifested
through its capacity to musically engage and dynamically respond to the
store’s ambient soundscape—were instrumental in building a rapport and a sense
of connection between the robotic system and human users. The anthropomorphic
interactions not only facilitated a smoother integration of the robot into the
daily routines of the store but also leveraged the unique capabilities of
robotic musicianship to enrich the retail space, transforming it into an
interactive and socially engaging environment.

###  8.3 Approaches to Musical Generation

The diversity of music that could potentially play in the store environment,
ranging from classical to pop, jazz to electronic soundscapes, presented a
significant challenge for designing a system that can appropriately respond to
and interact with such a varied musical landscape. We initially considered
curating custom playlists, however reconsidered in due to the importance of
maintaining the existing store ambiance and branding. Altering the musical
environment could inadvertently affect the overall store experience,
potentially alienating customers who have specific expectations based on the
store’s established identity. Given these considerations, the approach to
musical generation was focused on enhancing the interaction between the
robotic system and the ambient soundscape of the store, and creating
interesting movement and interaction.

###  8.4 Evalutation in a Retail Setting

Evaluating the impact of interactive music systems and robotic musicianship is
challenging in any situation. The store we partnered with has a no-camera or
recording policy for customer privacy, and directly asking customers was not
an option. The effectiveness of such installations can instead be inferred
from technical reliability, qualitative feedback from staff and customers, and
the potential for future projects within the same venue. These indirect
metrics serve as acted as our primary indicators of the system’s acceptance
and performance, offering insight into its integration within the retail
atmosphere and its influence on the customer experience.

In future installations, store Key Performance Indicators (KPIs) could play a
role in assessing the system’s success, focusing on metrics such as the
increase in customers’ desire to stay longer within the store and the extent
of word-of-mouth sharing [28]. An enhanced store atmosphere, attributed to the
novel integration of robotic musicianship, is hypothesized to positively
affect these KPIs. The assumption is that by creating a more engaging and
interactive shopping environment, customers are more likely to enjoy their
experience and share it with others, thereby amplifying the store’s appeal and
drawing in a wider audience. Despite the inherent difficulties in measuring
the system’s direct impact on specific customer behaviors, the positive
feedback and technical performance offer substantial evidence of its value and
effectiveness in enhancing the retail experience.

###  8.5 Long-Term Effect and Novelty

The concept of the novelty effect, as discussed by Reimann et al. (2023) in
their study on a wine recommendation robot deployed in a supermarket, offers a
pertinent lens through which to examine the interactive music system and
robotic musicianship installed in the retail setting of our project [29]. In
their research, Reimann observed that the novelty of the robot attracted
individuals with no initial intention of buying wine, indicating that the
robot’s presence significantly influenced customer behavior and engagement
patterns within the store. This divergence between expected and actual user
interaction, coupled with the variance between behavioral data and survey
responses, underscores the complexity of evaluating social robots in real-
world settings and the impact of novelty on user engagement.

Drawing parallels to our work, the deployment of a robotic music system in a
commercial environment likely elicited a similar novelty effect among patrons.
The installation’s uniqueness not only drew in the attention of shoppers but
also potentially altered their in-store behavior, encouraging longer stays and
increased interaction with the system. This phenomenon aligns with Reimann et
al.’s findings, where the novelty of the robot became a focal point for
customer interaction, irrespective of the initial intent to engage with the
product being promoted.

Moreover, the observation by Reimann et al. that groups interacted more with
the robot than individuals resonates with our experience, suggesting that the
presence of innovative technology facilitates social interaction among store
visitors. This behavior highlights the social dimension of technological
novelty in retail spaces, where the introduction of interactive systems can
transform shopping from a solitary activity into a collective experience.

A significant insight from Reimann et al.’s work is the importance of
identifying and understanding the indicators of the novelty effect in field
studies. By proposing a set of indicators and thresholds to recognize this
effect, their research emphasizes the need to differentiate between short-term
engagement driven by novelty and long-term interest based on genuine utility
or enjoyment. Applying this perspective to our project, it becomes crucial to
evaluate whether the interactive music system meets real user needs and
continues to engage customers beyond its initial novelty.

###  8.6 Dynamics of Store Operations and Feedback

The support and involvement of the store staff were pivotal, highlighting the
importance of designing systems that can be easily operated and managed by
non-technical personnel. Feedback from the staff suggests a positive reception
towards the technology, although it also emphasizes the need for systems that
are robust and require minimal intervention to maintain their operation. This
feedback is invaluable for future iterations, suggesting that while the
novelty and engagement offered by such systems are well-received, their long-
term success hinges on their ability to operate unobtrusively and reliably.

###  8.7 Always On

The decision to keep the system operational without requiring daily activation
or deactivation by the staff presents an interesting case study in the
deployment of interactive systems in public spaces. This approach minimized
operational overhead for the staff and allowed for a continuous experience for
patrons. However, it also raises questions about the long-term durability of
the technology and the potential need for periodic maintenance or downtime to
ensure continued optimal performance.

###  8.8 Less Is More

The strategic decision to design the system with high thresholds for beat
consistency and tempo, prioritizing accuracy and relevance of musical output
over frequency of interaction, reflects a nuanced understanding of the retail
environment. In such settings, the potential distraction or annoyance of out-
of-sync or overly frequent musical interjections outweighs the desire for
constant engagement. This design philosophy underscores the importance of
context in the deployment of interactive systems in retail, where the goal is
to enhance rather than disrupt the ambient environment.

##  9 Conclusion

This project successfully demonstrated the feasibility and potential of
integrating interactive robotic musicianship into a commercial retail
environment. By deploying a UR3 arm alongside custom-built frame drums within
a storefront, we showcased a novel application of automation in artistic
expression but also enriched the ambient retail experience for customers. By
focusing on enhancing the interaction between the system and the store’s
ambient music, rather than attempting to alter the store’s musical landscape,
we have demonstrated a novel approach to enriching the customer experience
without compromising the store’s brand identity.

Our exploration into the realms of anthropomorphism, human-robot interaction,
and musical adaptability underscores the nuanced relationship between
technology, music, and retail spaces. The spontaneous anthropomorphization of
the robotic elements by store staff, attributing agency and character to the
system, highlights the potential of such installations to become integrated,
engaging parts of social and commercial settings. This project has also
addressed the technical challenge of designing a system capable of responding
to a diverse array of musical genres, emphasizing interaction and adaptability
as central to the success of the installation. The system’s ability to operate
continuously for three weeks without significant interruptions highlights its
reliability and suitability for long-term installations in public spaces.

Moving forward, this project serves as a foundation for future research and
development in the intersection of music, robotics, and retail. It invites
further exploration into how these systems can be optimized to meet diverse
user needs, adapt to changing environments, and contribute to the creation of
innovative retail experiences. By continuing to focus on the seamless
integration of technology with human-centric design principles, we can unlock
new possibilities for enhancing public spaces with interactive, engaging, and
meaningful installations.

##  10 Acknowledgements

This research is partially supported by the Industrial Transformation Training
Centre (ITTC) for Collaborative Robotics in Advanced Manufacturing (also known
as the Australian Cobotics Centre) funded by ARC (Project ID: IC200100001)

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