ReCoDIN [PhD]

Defended on 24th January ! Thesis available here soon !

ReCoDIN stands 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, all the knowledge that has been or can be digitized. The interfaces of DMIs are facing the challenge of presenting new ergonomics for 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 meaningful for the various phases of instrument making, composing, learning, 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.

Tools

This research led to the development of various Open-Source tools and softwares, some of which are described in academic publications  (see below). Feel free to fork them on GitHub !

  • LAM-lib : a random collection of objets and utilities for digital luthery in Max.
  • ModularPolyphony (MP) : a protocol and set of abstractions in Max, allowing expressive control of polyphonic processes, connected in a modular way.
  • ModularPolyphony-TUI (MP-TUI) : a set of objects and utilities built on top of MP, meant for designing custom multitouch tangible user interfaces (TUI).
  • Sagrada : a library for audio-rate control of modular processes, particulary targeted at granular synthesis.
  • John, the Semi-Conductor : a web-based collective score generator, editor and player, crafted for helping collective free improvisation of electroacoustic music.
Related publications
  • V. Goudard, « Ephemeral instruments », in Proceedings of the International Conference on New Interfaces for Musical Expression (NIME’19), Porto-Alegre, Brésil, 2019, p. 349–354. [online]
  • V. Goudard, « John, the Semi-Conductor: A Tool for Comprovisation », in Proceedings of the International Conference on Technologies for Music Notation and Representation – TENOR’18, Montreal, Canada, 2018, p. 43–49. [online]
  • V. Goudard, « Ergonomics of touch-screen Interfaces », in Proceedings of the International Conference on Live Interfaces (ICLI’18), Porto, Portugal, 2018. [online]
  • V. Goudard et H. Genevois, « Mapping modulaire de processus polyphoniques », in Actes des Journées d’Informatique Musicale (JIM’17), 2017. [online]

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.

XSPIF – Cross Standard PlugIn Framework

XSPIF stands for the acronym of Cross Standard PlugIn Framework.

It is an xml to (vst/au/pd/ladspa) translation utility written by Rémy Muller and myself for our final study project in 2003 inspired by Steve Harris way of writing ladspa plugins.

Instead of abstracting the different plugin formats into a C/C++ library as most professionnal companies do, we choose for both academic and time reasons to write an xml to C/C++ translator using Python.

It has many limitations and is now outdated, but it can prove useful as a learning tool for many people or just as a template generator for the target plateforms.

Sources and documentation

xspif.zip released under the GNU General Public License