Digital musical instruments offer countless opportunities for musical expression by allowing artists to produce sound without the physical constraints of analog instruments. By breaking the intuitive link between gestures and sound they may hinder the audience experience, however, making the musician's contribution and expressiveness difficult to discern. To cope with this issue without altering the instruments, researchers and artists have designed techniques to augment their performances with additional information, through audio, haptic, or visual modalities. These techniques have, however, only been designed to offer a fixed level of information, without taking into account the variety of spectators' expertise and preferences. In this article, we introduce the concept of controllable levels of details (LODs) for visual augmentation. We investigate their design, implementation, and effect on objective and subjective aspects of audience experience. We conduct a controlled experiment with 18 participants, including novices and experts in electronic music. Our results expose the subjective nature of expertise and its biases. We analyze quantitative and qualitative data to reveal contrasts in the impact of LODs on experience and comprehension for experts and novices. Finally, we highlight the diversity of usage of LODs in visual augmentation by spectators and propose a new role on stage, the augmenter.

数字乐器允许艺术家在没有模拟乐器物理限制的情况下制作声音，从而为音乐表达提供了无数机会。然而，通过打破手势和声音之间的直观联系，它们可能会阻碍观众体验，从而使音乐家的贡献和表现力难以辨别。为了在不改变乐器的情况下解决这个问题，研究人员和艺术家设计了一些技术，通过音频、触觉或视觉方式，用额外的信息来增强他们的表演。然而，这些技术仅被设计为提供固定水平的信息，而没有考虑观众的专业知识和偏好的多样性。在本文中，我们介绍了用于视觉增强的可控细节级别 (LOD) 的概念。我们调查了它们的设计、实施以及对观众体验的客观和主观方面的影响。我们对 18 名参与者进行了对照实验，其中包括电子音乐的新手和专家。我们的结果暴露了专业知识的主观性及其偏见。我们分析定量和定性数据，以揭示 LOD 对专家和新手的经验和理解影响的对比。最后，我们强调了观众在视觉增强中使用 LOD 的多样性，并提出了舞台上的一个新角色，即增强者。我们的结果暴露了专业知识的主观性及其偏见。我们分析定量和定性数据，以揭示 LOD 对专家和新手的经验和理解影响的对比。最后，我们强调了观众在视觉增强中使用 LOD 的多样性，并提出了舞台上的一个新角色，即增强者。我们的结果暴露了专业知识的主观性及其偏见。我们分析定量和定性数据，以揭示 LOD 对专家和新手的经验和理解影响的对比。最后，我们强调了观众在视觉增强中使用 LOD 的多样性，并提出了舞台上的一个新角色，即增强者。