ReCoDIN [PhD]

ReCoDIN is the acronym for “representation and control in the interactive design of digital musical instruments”, the topic of a doctoral research project started in 2016.

The design of a digital musical instrument (DMI), freed from the constraints of physical acoustics, is mostly guided by ergonomic issues. Between a simple “play” button and a complex professional instrument, the possibilities of interaction come in all fashions, along with varying contexts of use.

The various components of a DMI (control interface, audio synthesis, presets and sound banks, etc.) are connected in what is usually called the mapping. While this term could lead one to think of simple unidirectional connections from the performer’s gesture to signal processors, the mapping is actually an essential part of the instrument’s interaction design and defines to a great extent its playability and, consequently, its purpose (concert instrument, listening device, editing tool, etc.).

DMIs also benefit from the advents of HCI, musicology, algorithmics, AI… in short, everything that has or can be digitized. The interfaces of DMIs are facing the challenge of presenting ergonomics to the new territories of musical interaction offered by computers and available digital data.

What graphical lexicon of musical representation can translate as interactive components; what interfaces are meaninful for the various phases of instrument making, composing, lerning, rehearsing, performing, listening; what representations of a same parameter will be more suitable for the virtuosity, precision, discovery… during sound manipulation; what affordance for the temporal dimension in these interactive devices; are some of the questions to be explored in this research.

This PhD is led under the joint supervision of Jean-Dominique Polack from the Lutherie-Acoustics-Music team at Institut ∂’Alembert (LAM, CNRS-UMR7190) and Pierre Couprie from the Research Institute in Musicology (IReMus, CNRS-UMR 8223).

Advisor : Hugues Genevois from the Lutherie-Acoustics-Music team at Institut ∂’Alembert (CNRS-UMR7190).

This research is supported by Collegium Musicæ at Sorbonne Université.

PANAM

PANAM (Pédagogie artistique numérique accessible et multimodale) is a research and development project led by Puce Muse and concerned with the development and analysis of HCI strategies and tools for collective music practice with digital music instruments. It focuses on the accessibility of such tools for disabled people.

As part of the LAM team, several tools have been developed for the mapping, visualisation, and building of digital music instruments. They have been implemented as modules for the Meta-Mallette software (©PuceMuse), and are available as part of the LAM-lib, a software library for Max/MSP.

Publication

[pdf] Vincent Goudard, Hugues Genevois, Lionel Feugère. On the playing of monodic pitch in digital music instruments. Anastasia Georgaki and Giorgos Kouroupetroglou. ICMC/SMC 2014, Sep 2014, Athènes, Greece. National and Kapodistrian University of Athens, pp.1418, 2014.

Partners

 

 

LAM-lib

The digital lutherie toolkit you need.

LAM-lib is a toolkit for Max/MSP providing all kind of useful goodies you need when building digital music instrument with Max. I started it during my work at the Lutherie Acoustique Musique lab. It is distributed under LGPL licence so that you can check it, fork it, buy it, sell it, use it, break it, fix it, trash it…etc. Just credit it.

Get it from GitHub.

John — the semi-conductor

John, the semi-conductor.

John is an application meant for collective free improvisation, which was born out of the needs encountered in free improvisation practice with the Orchestre National Electroacoustique.

Namely, John was invented as a virtual companion to find stimulating answers for issues encountered in collective free improvisation, like precise timings for transitions between contrasting parts, articulations of large movements, or the proposal of unusual scores taking us off the beaten path.

It is made of two parts :

  • a score editor which can generate random scores based on constraints and probablities defined by the user
  • a real-time “conductor” displaying the score during live performance

Its name refers to both John Cage and John Doe.

John-scoreGenerator
Random score generation panel

Original development with Max. Ongoing port to a reactive web app with d3.js and Meteor. Sources available at GitHub.

Le phonétogramme

Le phonétogramme consists in a graph showing the pitch versus the loudness of a voice. It shows various characteristics of one’s voice, including the ambitus, the change of amplitude at vocal register shifts, and possible voice disorders.

Computer graphics and multimedia production for the exhibition “La voix, l’expo qui vous parle”.
Client : Cité des Sciences & de l’Industrie

OrJo

OrJo (for “Joysticks Orchestra”) is a research and development project on virtual instruments orchestra practices. This project involves several partners : Puce Muse (project coordinator), LAM, the LIMSI and the company 3Dlized.
I worked with the LAM-team on the development of “Dynamic intermediate Models” for digital lutherie which involve physical, topological and statistical interactions.

Ressources

[pdf] Dynamic Intermediate Models for audiographic synthesis, Sound and Music Conference SMC 2010, Padova (It)

[pdf] A dynamic intermediate model based on cellular automaton “game of life”, Live Interfaces 2012, Leeds (UK)

Morphogenius

Morphogenius is an application for tablet that was proposed for the exhibition on Leonardo Da Vinci at Cité des Sciences, Paris. It is inspired by Leonardo Da Vinci morphological drawings.

It allows to “transfer” reality as captured by the tablet’s camera into 3d drawings. The camera stream is processed with an edge detection algorithm easing the readability of shapes and structures. All drawings are done in 3d and the user can move, rotate and zoom them in any direction.

Morphogenius_rosam

Wyschnegradsky

Ivan Alexandrovich Wyschnegradsky (Ива́н Алекса́ндрович Вышнегра́дский) was a Russian composer primarily known for his microtonal compositions.

Pascal Criton, a french composer of contemporary music as well as a musicologist who studied Wyschnegradsky’s works, created an interactive piece inspired by Wyschnegradsky’s “ultrachromatic compositions” for association Puce Muse.

I designed a collective instrument able to produce complex polyrhytmic sequences of filtered sound texture. Each step of the sequence can be assigned a color nuance and a pitch, possibly micro-tonal. The result produces visual and sonic moires, reminding of Wyschnegradsky’s chromatic drawings.

You can get it from the Méta-Librairie website.