Max/MSP/Jitter Research Papers - Academia.edu (original) (raw)

These projects deal with my intention to offer the musician novel tools for performance and/or improvisation techniques. I think of them in contrast with traditional modular approach. What I have in mind is neither a system with static... more

These projects deal with my intention to offer the musician novel tools for performance and/or improvisation techniques. I think of them in contrast with traditional modular approach. What I have in mind is neither a system with static parameters, e.g. a step sequencer with fixed rhythmic patterns or divisions and fixed interval ratio, nor a pure stochastic-based system. Moreover, these two projects are related to each other so to create a more general environment that may be used both in musical and in an interactive domain.
The entire work starts from my Bachelor’s thesis, ‘Real-Time Intelligent Harmonizer based on AMDF Pitch Detection’.

From its invention at the end of nineteenth century, cinema has been a composite art form, engaging with a multitude of art and design disciplines (costume, props, sets, credits, etc) often employed to fit or enhance a story. The aura... more

From its invention at the end of nineteenth century, cinema has been a composite art form, engaging with a multitude of art and design disciplines (costume, props, sets, credits, etc) often employed to fit or enhance a story. The aura that surrounds the narrative in cinema was created via a unique relationship with technology (filming, editing, projection) capable of creating and revealing a fictional world.

Η έκρηξη της τεχνολογίας του 20ου αιώνα ιδιαίτερα στο δεύτερο μισό (IBM Computers), βοήθησε αρχικά τα Πανεπιστήμια & Ερευνητικά Κέντρα να μελετήσουν ένα μεγάλο εύρος από επιστημονικούς τομείς. Άνθρωποι όπως οι Max Mathews και John... more

Η έκρηξη της τεχνολογίας του 20ου αιώνα ιδιαίτερα στο δεύτερο μισό (IBM Computers), βοήθησε αρχικά τα Πανεπιστήμια & Ερευνητικά Κέντρα να μελετήσουν ένα μεγάλο εύρος από επιστημονικούς τομείς. Άνθρωποι όπως οι Max Mathews και John Chowning, με βασικό εργαλείο τις γλώσσες προγραμματισμού της εποχής (π.χ. MUSIC-V) μελέτησαν και ανέπτυξαν θεωρίες οι οποίες στη συνέχεια πέρασαν στο ευρύ κοινό μέσω πληθώρας από Synthesizers (Yamaha DX7, PPG Wave κ.α.). Όλη αυτή η εξέλιξη μας οδήγησε στο σήμερα και στον συνδυασμό της Hardware και της Inside the Box φιλοσοφίας (DAW, plug-ins, VST-i), με πολλά από τα VST-i να εμπνέονται αναπόφευκτα από τα Hardware Synthesizers. H παρούσα εργασία αναλαμβάνει να εξετάσει τέσσερις από τις βασικές τεχνικές σύνθεσης ήχου (Additive, Subtractive, FM, Wavetable) και να βοηθήσει τον χρήστη να τις εφαρμόσει στα Synthesizers. Σκοπός μου δεν είναι να αναπτύξω ένα “ultimate” Synthesizer, αλλά μέσω των απλών Synthesizers (Max Patches) που ανέπτυξα να κατανοήσω καλύτερα τη συμπεριφορά των τεχνικών σύνθεσης ήχου αλλά και τον τρόπο λειτουργίας των Synthesizers.

The rapid shift in technology from that which was situated in the professional domain to that which occupies the domestic domain has allowed this research to be undertaken. The computing power of personal computers and mobile devices has... more

The rapid shift in technology from that which was situated in the professional domain to that which occupies the domestic domain has allowed this research to be undertaken. The computing power of personal computers and mobile devices has gotten to the point where these devices offer the ability to process large amounts of data efficiently. They are readily available, cost-effective and the ability to leverage the technologies encapsulated within them has provoked this study. The design and implementation of tools to support the teaching and learning of dance and composition can now more readily be undertaken, leveraging technologies and devices that are commonly at the disposal of teachers and students. The rapid rise of “wearables”, Bluetooth technologies, mobile devices and the with increasingly powerful computing possibilities and audiovisual interfaces will allow for the design and prototyping of a software environment to support the creative practice of Dance and Interactive Composition.

The explosion of 20th-century technology, especially in the second half (IBM Computers), initially helped Universities & Research Centers to study a wide range of scientific fields. People like Max Mathews and John Chowning, using the... more

The explosion of 20th-century technology, especially in the second half (IBM Computers), initially helped Universities & Research Centers to study a wide range of scientific fields. People like Max Mathews and John Chowning, using the programming languages of the time (e.g. MUSIC-V), researched and developed theories which become part of our music culture through a plethora of Synthesizers (Yamaha DX7, PPG Wave, etc.). This development has led us today to the combination of Hardware and Inside the Box philosophy (DAW, plug-ins, VST-i), with many of the VST-i inevitably inspired by Hardware Synthesizers.
This thesis examines four of the primary sound synthesis techniques (Additive, Subtractive, FM, Wavetable) and helps the user apply them to a synthesizer. My goal is not to create an "ultimate" synthesizer, but through the simple synthesizers (Max Patches) that I developed, to understand better the behaviour of sound synthesis techniques and how synthesizers work.

This thesis was a study in prototyping a binaural surround-sound processor, solely within the MAX/MSP/Jitter software domain. The processor synthesises sonic-environments for a single user, such that sound-objects remain at specific... more

This thesis was a study in prototyping a binaural surround-sound processor, solely within the MAX/MSP/Jitter software domain. The processor synthesises sonic-environments for a single user, such that sound-objects remain at specific points in space, independent of the user’s movements. This is achieved by monitoring the user’s position and head-orientation with a camera. The camera is connected to a laptop, where all processing takes place. The user’s head-data, along with the sounds position on a 2-D panner, control the spatial processor. Localization cues are then generated in a manner similar to how the human auditory system operates.

The rapid advance of handheld and head-mounted mixed reality technologies comes with many opportunities to integrate 3D visualizations on top of screen-based 2D technologies for immersive analytics, such as the ability to walk through... more

The rapid advance of handheld and head-mounted mixed reality technologies comes with many opportunities to integrate 3D visualizations on top of screen-based 2D technologies for immersive analytics, such as the ability to walk through particle data. However, while mixed reality devices can render virtual worlds into the three dimensional space of the physical world, integrating these devices with 2D immersive technologies is fundamentally constrained by the limited computing and networking resources of energy-efficient mobile devices. Towards a better understanding of these limitations, we design and implement a distributed particle rendering framework to bridge mobile mixed-reality devices with an immersive screen-based stage environment using a Microsoft HoloLens, an NVIDIA Shield Tablet, and a multi-projector immersive data visualization environment. Using our framework, we characterize rendering and networking constraints of the devices involved in the hybrid data visualization. We propose strategies to operate within these constraints to provide rich immersive 3D visualizations through dynamic partitioning and selective rendering of data-visualization workloads across 2D and 3D devices.

This essay explores the notion of hybridity in culture and media, which consists of three areas such as Hybrid Media, Hybrid Culture and Hybrid Space. I will also investigate hybridization process in digital media theories and practices... more

This essay explores the notion of hybridity in culture and media, which consists of three areas such as Hybrid Media, Hybrid Culture and Hybrid Space. I will also investigate hybridization process in digital media theories and practices in order to response hybridity’s research questions. Amongst the exploration and investigation of the matter, this essay will also include comparative analysis of Western - Eastern historical and cultural perspectives in relation to contemporary technological development with confidence to comfortably position the two diverse cultures in one hybridization process. I will also explore the notion of post-humanism highly predicted to occur in a hybrid space. Despite how the essay will continuously revealing further hybridity arguments concerning scientific and religious facts, the concrete intention of this essay is to make connection with historical discoveries that unescapably associated to human relationship with Gods.

Since Barry Truax’s early pioneering work, the increasing availability of powerful and inexpensive desktop computers has led many composers, researchers and artists to experiment and work with granular synthesis and/or granulation... more

Since Barry Truax’s early pioneering work, the increasing availability of powerful and inexpensive desktop computers has led many composers, researchers and artists to experiment and work with granular synthesis and/or granulation processes. During the last two decades a stream of granulation software has appeared, but despite this spread, all these applications have important limitations in terms of efficiency, usability, flexibility and control. This paper describes an abstraction of an efficient and flexible granular processing system built into the Max/MSP environment.

Curtis Roads, nel suo Computer Music Tu- torial, descrive accuratamente, come ogni altro argomento trattato, le modulazioni e quindi anche la Ring Modulation. Nel de- scrivere la RM si sofferma sulle differenze tra circuito analogico e... more

Curtis Roads, nel suo Computer Music Tu- torial, descrive accuratamente, come ogni altro argomento trattato, le modulazioni e quindi anche la Ring Modulation. Nel de- scrivere la RM si sofferma sulle differenze tra circuito analogico e realizzazione digi- tale. Tra le possibili costruzioni analogiche descrive appunto la Chopper RM.

O presente trabalho propõe uma análise e discussão a respeito do papel desempenhado pelas ferramentas digitais de produção, recepção e mediação sonora na produção musical contemporânea a partir de observações e análise de um repertório... more

O presente trabalho propõe uma análise e discussão a respeito do papel desempenhado pelas ferramentas digitais de produção, recepção e mediação sonora na produção musical contemporânea a partir de observações e análise de um repertório produzido no período entre 2010 e 2013 como parte da produção artística do grupo de pesquisas MOBILE: Processos Musicais Interativos, sediado na Universidade de São Paulo (USP). Esse repertório se insere na produção experimental contemporânea e se relaciona com a produção experimental não institucionalizada dentro do cenário de música experimental brasileira, por meio das relações de seus participantes com outros contextos produtivos, como festivais, núcleos e espaços dedicados ao fomento e à difusão dessa produção. Para fins de embasamento, é proposta uma discussão acerca da definição de música experimental, o esboço de uma perspectiva histórica das principais tendências que articulam a produção experimental contemporânea, assim como um levantamento sobre as principais questões que pautam a discussão atual a respeito do uso de ferramentas digitais na produção musical.

In this article we describe our ongoing research and development efforts towards integrating the control of sound spatialisation in computer - aided composition . Most commonly, the process of sound spatialisation is separated from the... more

In this article we describe our ongoing research and development efforts towards integrating the control of sound spatialisation in computer - aided composition . Most commonly, the process of sound spatialisation is separated from the world of symbolic computation. We propose a model in which spatial sound rendering is regarded as a subset of sound synthesis, and spatial parameters are treated as abstract musical materials within a global compositional framework. The library OMPrisma is presented, which implements a generic system for the control of spatial sound synthesis in the computer-aided composition environment OpenMusic.

This paper describes the ongoing development of Ormé: a spatialization tool developed with Max/MSP, which enables to interpret monophonic or stereophonic fixed-media music by means of sound projection. Our intent is, following a detailed... more

This paper describes the ongoing development of Ormé: a spatialization tool developed with Max/MSP, which enables to interpret monophonic or stereophonic fixed-media music by means of sound projection. Our intent is, following a detailed spectral analysis, to dynamically and automatically split the sound in various spectral bands that will be sent to a multi-channel system in order to highlight the intimate sound characteristics as well as the structural aspects of the interpreted piece of music. The spatialization technique used in Ormé has mainly performative and analytical objectives, but the system also provides a sonogram annotation syntax that allows for a real-time representation of the spectral and spatial elements involved in the performance which is particularly suitable for didactic purposes, especially for music analysis or/and ear-training.

“On the String” is an installation-performance scored for sound sculptures, real-time synthesis, musicians, light display and an immersive sound diffusion system. The composition, inspired by String Theory, called for the design of an... more

“On the String” is an installation-performance scored for sound sculptures, real-time synthesis, musicians, light display and an immersive sound diffusion system. The composition, inspired by String Theory, called for the design of an immersive sound design that could be flexibly adapted to different diffusion situations. The software design aimed to realise a concept of sonic objects moving in four-dimensional space. The paper describes loudspeaker setup and software implementation of the work. Other aspects of the work, such as composition, sculptural elements, real-time synthesis, staging and light design, have been described in [4]. A DVD is available [3].

A new electroacoustic composition-Travessia (2020)-relies on a well-known urban soundscape of Lisbon: the sound radiated from the 25 de Abril bridge. As with many soundscape compositions, the sonic reality captured in situ serves as the... more

A new electroacoustic composition-Travessia (2020)-relies on a well-known urban soundscape of Lisbon: the sound radiated from the 25 de Abril bridge. As with many soundscape compositions, the sonic reality captured in situ serves as the basis for subsequent manipulative procedures. Although exploring those procedures, the focus of this article is on the human/machine interface, especially important in electroacoustic music composition. Building on previous research on the use of algorithms in music-making, an analysis of compositional processes is carried out in connection with their associated aesthetic decisions and implications, providing new insights into composing with computers.

Music interactivity is a sub-field of human-computer interaction studies. Interactive situations have different degree of structural openness and musical “ludicity” or playfulness. Discussing music seems inherently impossible since it is... more

Music interactivity is a sub-field of human-computer interaction studies. Interactive situations have different degree of structural openness and musical “ludicity” or playfulness. Discussing music seems inherently impossible since it is essentially a non-verbal activity. Music can produce an understanding (or at least prepare for an understanding) of creativity that is of an order neither verbal nor written. A human listener might perceive beauty to be of this kind in a particular music. But can machine-generated music be considered creative and if so, wherein lies the creativity? What are the conceptual limits of notions such as instrument, computer and machine? A work of interactive music might be more pertinently described by the processes involved than by one or several instanciations. While humans spontaneously deal with multiple process descriptions (verbal, visual, kinetic…) and are very good at synthesising, the computer is limited to handling processes describable in a formal language such as computer code. But if the code can be considered a score, does it not make a musician out of the computer? As tools for creative stimulus, composers have created musical systems employing artificial intelligence in different forms since the dawn of computer music. A large part of music interactivity research concerns interface design, which involves ergonomics and traditional instrument maker concepts. I will show examples of how I work with interactivity in my compositions, from straight-forward applications as composition tools to more complex artistic work.

We present two examples of technology transfer from analogical to digital systems, in two works of live electroacoustic music by the Portuguese composer Jorge Peixinho (1940-1995), Harmónicos (1967) and Sax-Blue (1982). These works... more

We present two examples of technology transfer from analogical to digital systems, in two works of live electroacoustic music by the Portuguese composer Jorge Peixinho (1940-1995), Harmónicos (1967) and Sax-Blue (1982). These works require the use of analogue technology that has become obsolete or difficult to access by the average performer. We think that migration from electronics to software, also referred as recast represents a necessary step to preserve live electroacoustic music. However, this process can pose multiple questions as it also relies on aesthetic considerations. In this case, we put on a considerable effort into understanding both the composer's intentions and the equipment operating mode and we think the solutions proposed are adequate to perform both works. Finally, we discuss some of the questions, solutions and limitations that arose with these recasts and how they can contribute to the sustainability problem concerning these works.

OMPrisma is a library for the control of sound source spatialization and spatial sound synthesis in the computer-aided composition environment OpenMusic. In this article we describe the basic concepts underlying this library and its... more

OMPrisma is a library for the control of sound source spatialization and spatial sound synthesis in the computer-aided composition environment OpenMusic. In this article we describe the basic concepts underlying this library and its integration into compositional workflows ranging from high-level symbolic control structures to spatial sound synthesis and reproduction. A generic framework is presented, consisting of authoring environment, rendering engines and real-time decoding application. We particularly focus on periphonic spatialization processes and the usability of ambisonics from a compositional perspective.

Various factors can have a significant degrading impact on the residential Voice over Internet Protocol (VoIP) phone services' quality. Hybrid fibre-coaxial (HFC) networks typically carry three types of traffic that include voice, data,... more

Various factors can have a significant degrading impact on the residential Voice over Internet Protocol (VoIP) phone services' quality. Hybrid fibre-coaxial (HFC) networks typically carry three types of traffic that include voice, data, and video. Unlike data and video, some delays or packet loss can result in a noticeable degraded impact on a VoIP's phone conversation. This paper will analyze and assess VoIP traffic prioritization and its impact on VoIP's quality of service (QoS) based on the concept of differentiated services code point (DSCP) markings. Call testing examines two types of calls. The first set of tests focus on calls that originate from a VoIP network and terminate on a signalling system 7 (SS7) network. The second experiment focuses on calls that originate from SS7 network and terminate on a VoIP network. The research results provide DSCP markings configurations that can improve phone conversations' quality.

Despite that there is a "one-to-many" mapping between scheduling algorithms and scheduler implementations, only a few studies have discussed the challenges and consequences of translating between these two system models. There has been an... more

Despite that there is a "one-to-many" mapping between scheduling algorithms and scheduler implementations, only a few studies have discussed the challenges and consequences of translating between these two system models. There has been an argument that a wide gap exists between scheduling theory and scheduling implementation in practical systems, where such a gap must be bridged to obtain an effective validation of embedded systems. In this paper, we introduce a technique called "Scheduler Test Case" (STC) aimed at bridging the gap between scheduling algorithms and scheduler implementations in single-processor embedded systems implemented using Time-Triggered Cooperative (TTC) architectures. We will demonstrate how the STC technique can provide a simple and systematic way for documenting, verifying (testing) and comparing various TTC scheduler implementations on particular hardware. However, STC is a generic technique that provides a black-box tool for assessing and predicting the behaviour of representative implementation sets of any real-time scheduling algorithm.

Como forma de estruturar uma investigação sobre o uso do computador como instrumento musical, o presente artigo relata um levantamento sobre o desenvolvimento de sistemas de computação com finalidades musicais buscando uma aproximação com... more

Como forma de estruturar uma investigação sobre o uso do computador como instrumento musical, o presente artigo relata um levantamento sobre o desenvolvimento de sistemas de computação com finalidades musicais buscando uma aproximação com os estudos sobre gesto musical, tendo como marco teórico a produção de Bernadete Zagonel e Fernando Iazzetta sobre o tema. Esta investigação sugere que o potencial do gesto musical físico ainda é pouco explorado no desenvolvimento destes sistemas, em que prevalece a noção do gesto mental.

Nous présentons ici un instrument conçu pour le projet Vertiges d’espace et destiné à la diffusion sonore dans le contexte d’une performance de musique électroacoustique improvisée. Cet instrument a été expérimenté en concert et les... more

Nous présentons ici un instrument conçu pour le projet Vertiges d’espace et destiné à la diffusion sonore dans le contexte d’une performance de musique électroacoustique improvisée. Cet instrument a été expérimenté en concert et les premiers aboutissements nous permettent d’entrevoir des solutions concernant l’équilibre entre le nombre de contrôles nécessaires, le caractère et la gestion de la mise en espace envisagée.

In this paper I will present some aesthetic and technical aspects of my work related to real-time composition of sound environments (soundscapes and vocalscapes) through two recent works: “Geografia Sonora”, a sound and video installation... more

In this paper I will present some aesthetic and technical aspects of my work related to real-time composition of sound environments (soundscapes and vocalscapes) through two recent works: “Geografia Sonora”, a sound and video installation on the theme of the Mediterranean sea, a navigation in an archipelago of “sound islands” of singing/speaking voices, sound signals, natural and mechanical sounds; “Vocalscapes on Walt Whitman”, an electroacoustic composition exploring the idea of “poetry as vocalscape” and as “geography” of voices and performances based in the recordings of fifteen talkers. The works have been composed and spatialized in real time by a “sound navigation map”, a virtual score within Max/MSP, the Spatialisateur and Antescofo. Through these two works I will show: 1) by which means a vast sound material can be organized and processed/composed automatically in order to beget a sound environment in real-time through a coherent open virtual score; 2) how such a sound envi...

Designing Software and Hardware to improve our health, cost and creativity in relation to food consumption Through the culture of making and inventing for everyone, I am exploring the use of Arduino to produce remote wireless indexing of... more

Designing Software and Hardware to improve our health, cost and creativity in relation to food consumption Through the culture of making and inventing for everyone, I am exploring the use of Arduino to produce remote wireless indexing of consumers food purchases through barcode scanning which is then collated using bespoke software through MAX/msp Runtime. From this bespoke 'Food Monitor' (working title) software the food is indexed to create a digital archive of every food item and/or liquid and cross-referenced with a database to determine the fat, salt, energy of each individual item. Through user input of scanning items used, the software can calculate your meal's quantities for salt etc and keep a running log throughout the week to show your total intakes. It will also cross reference recipes to present meal ideas/suggestions based on what you have purchased as well as suggest their locations such as fridge, cupboard, freezer. It is hoped to make the cooking process simpler as the user will definitely have the ingredients necessary or it will inform of the missing ingredient, improve health so users are more aware of their levels of salt etc intake and for future developments help devise shopping lists based on individual users habits of purchases, with options to enable ordering online. Part of Food Monitors aim is to help reduce waste so recipes can be prioritised according to products that are perishables that users can work with. The hardware is relatively cheap, the software should be relatively small in size, and just requires a laptop, although the aim is to run from a Raspberry Pi. With further development and improving database of specific food products health details it would be able to improve eating habits, reduce waste and encourage people to cook basic recipes. This project is still in development but a minimal correlation between scanned items and recipes has been realised to determine the health details for each recipe and what ingredient is still required for particular recipes.

OMPrisma is a library for the control of sound source spatialization and spatial sound synthesis in the computer-aided composition environment OpenMusic. In this article we describe the basic concepts underlying this library and its... more

OMPrisma is a library for the control of sound source spatialization and spatial sound synthesis in the computer-aided composition environment OpenMusic. In this article we describe the basic concepts underlying this library and its integration into compositional workflows ranging from high-level symbolic control structures to spatial sound synthesis and reproduction. A generic framework is presented, consisting of authoring envi- ronment, rendering engines and real-time decoding application. We particularly focus on periphonic spatialization processes and the usability of ambisonics from a compositional perspective.

The article outlines a psychoacoustically founded method to describe the acoustic performance of earphones in two dimensions, Spectral Shape and Stereo Image Coherence. In a test set of 14 typical earphones, these dimensions explained... more

The article outlines a psychoacoustically founded method to describe the acoustic performance of earphones in two dimensions, Spectral Shape and Stereo Image Coherence. In a test set of 14 typical earphones, these dimensions explained 66.2% of total variability in 11 acoustic features based on Bark band energy distribution. We designed an interactive Earphone Simulator software that allows smooth interpolation between measured earphones, and employed it in a controlled experiment (N=30). Results showed that the preferred ‘virtual earphone’ sound was different between two test conditions, silence and commuter noise, both in terms of gain level and spectral shape. We discuss possible development of the simulator design for use in perceptual research as well as in commercial applications.

In this paper we present an algorithm for real–time fullbody skeletonization and visualization implemented as two external objects for Max/MSP/Jitter. These objects are intended to provide an accurate description of bodily motion as... more

In this paper we present an algorithm for real–time fullbody skeletonization and visualization implemented as two external objects for Max/MSP/Jitter. These objects are intended to provide an accurate description of bodily motion as captured by a video camera, to be used as musical rhythm controller in interactive music systems.

In this paper I will present some aesthetic and technical aspects of my work related to real-time composition of sound environments (soundscapes and vocalscapes) through two recent works: “Geografia Sonora”, a sound and video installation... more

In this paper I will present some aesthetic and technical aspects of my work related to real-time composition of sound environments (soundscapes and vocalscapes) through two recent works: “Geografia Sonora”, a sound and video installation on the theme of the Mediterranean sea, a navigation in an archipelago of “sound islands” of singing/speaking voices, sound signals, natural and me-chanical sounds; “Vocalscapes on Walt Whitman”, an electroacoustic composition exploring the idea of “poetry as vocalscape” and as “geography” of voices and perfor-mances based in the recordings of fifteen talkers.
The works have been composed and spatialized in real time by a “sound navigation map”, a virtual score within Max/MSP, the Spatialisateur and Antescofo.
Through these two works I will show: 1) by which means a vast sound material can be organized and pro-cessed/composed automatically in order to beget a sound environment in real-time through a coherent open virtual score; 2) how such a sound environment may be seen simultaneously as a sound composition, as the trace of a shared experience, as the record of poetry and vocal per-formance or as the soundmark of a community and of a land.

Klama, for mixed choir, live electronics & prerecorded sounds, has its origins in the ritual lament of Southern Peloponnese (Greece); a “polyphony” composed of improvised monodies (moirolóya), epodes, crying, screams and monologues,... more

Klama, for mixed choir, live electronics & prerecorded sounds, has its origins in the ritual lament of Southern Peloponnese (Greece); a “polyphony” composed of improvised monodies (moirolóya), epodes, crying, screams and monologues, accompanied by ritual gestures. By its acoustic violence the lament can be considered an alteration of vocality which affects simultaneously tonality, timbre and language. Klama has been developed in three levels, a nexus where vocal writing interacts with electroacoustics and live electronics, the latter seen as a metaphore of the inherent vocal alterations on the lament. In this paper we will show : 1) how the compositional material derived from the voice in oral and byzantine church tradition is explored for the choir and electronic writing; 2) how the three levels of Klama, acoustic, electroacoustic & live electronics interact through the act of composition and by means of the technological tools (Open Music, Max/Msp, Audio Sculpt).

Balaenoptera is a piece of mine for bass clarinet, electronic sounds and live electronics. This paper describes the use of live electronics through a detailed illustration of Max/MSP patches devoted to that aim. After the description of... more

Balaenoptera is a piece of mine for bass clarinet, electronic sounds and live electronics. This paper describes the use of live electronics through a detailed illustration of Max/MSP patches devoted to that aim. After the description of main patch interface, all five quadraphonic audio effects are examined showing the figure of the corresponding patch and illustrating it: a real time granulator, a quadraphonic player, a freeze reverb, a real time stretcher, a tap delay with transposition. In conclusion structural relations among instrumental part, electronic sounds and live electronics setting are analyzed.

The computing curriculum in the United Kingdom has seen a dramatic shift from a 'software training' model to a model where children are encouraged to learn to code. This has created challenges for many primary school teaching... more

The computing curriculum in the United Kingdom has seen a dramatic shift from a 'software training' model to a model where children are encouraged to learn to code. This has created challenges for many primary school teaching practitioners, many of whom requiring upskilling. By interconnecting Music, Mathematics and Coding concepts through a LIVE USB deliverable system, the author's MAMIC (Music And Maths In Collaboration) library for the Pure Data visual programming environment, provides an easy-to-use but flexible and engaging means of teaching children to code within an interdisciplinary curriculum model. Unlike existing solutions, MAMIC is aimed at delivery by non-expert practitioners within the mainstream schooling system. Non-practitioner status is achieved through a variety of means including, enclosed literature support, video demonstrations, examples of working code as well as a portable LIVE USB deliverable system. Consequently, MAMIC is packaged so non-expert teachers can boot the system without the need for hard disk installation. MAMIC is also designed to be used on the variety of computer systems that can be found in the education system. As a result, MAMIC includes detailed CPU reduction algorithms to enable it to run in realtime on a variety of primitive computer systems. As well as detailing the MAMIC LIVE USB system, this paper also aims to introduce the initial research results produced by MAMIC and a non-expert practitioner. Initial MAMIC research encompasses the Unmoderated Remote Usability Testing (URUT) methodology. URUT provides a framework of usability testing, regarding products or interfaces within remote locations. Adopting URUT can determine how satisfied (or not satisfied) a user is with the interface and operability of a product. As a result, the non-expert practitioner tests the product for suitability in the real world. These details include qualitative analysis from the non-expert practitioner as well as video evidence of student work carried out so far.

Various factors can have a significant degrading impact on the residential Voice over Internet Protocol (VoIP) phone services' quality. Hybrid fibre-coaxial (HFC) networks typically carry three types of traffic that include voice,... more

Various factors can have a significant degrading impact on the residential Voice over Internet Protocol (VoIP) phone services' quality. Hybrid fibre-coaxial (HFC) networks typically carry three types of traffic that include voice, data, and video. Unlike data and video, some delays or packet loss can result in a noticeable degraded impact on a VoIP's phone conversation. This paper will analyze and assess VoIP traffic prioritization and its impact on VoIP's quality of service (QoS) based on the concept of differentiated services code point (DSCP) markings. Call testing examines two types of calls. The first set of tests focus on calls that originate from a VoIP network and terminate on a signalling system 7 (SS7) network. The second experiment focuses on calls that originate from SS7 network and terminate on a VoIP network. The research results provide DSCP markings configurations that can improve phone conversations' quality.

mirage Multi-dimensional spatial sound design for 'On the String'. DSpace/Manakin Repository. Login. JavaScript is disabled for your browser. Some features of this site may not work without it. Search DR-NTU. Search... more

mirage Multi-dimensional spatial sound design for 'On the String'. DSpace/Manakin Repository. Login. JavaScript is disabled for your browser. Some features of this site may not work without it. Search DR-NTU. Search DR-NTU This Collection. Advanced Search Subject Search. ...

For human–computer interaction, most devices use the fingers, sometimes the whole hand. And short of organ pedals, the fingers remain the primary source of triggering musical instrument digital interface (MIDI) synthesizers. This project... more

For human–computer interaction, most devices use the fingers, sometimes the whole hand. And short of organ pedals, the fingers remain the primary source of triggering musical instrument digital interface (MIDI) synthesizers. This project offers an alternative in using the color intensity and hue controlled through objects manipulated or worn as clothing or ornament by the human body, as detected by a camera across the several zones of the video image. The method is explained in this report, along with pitfalls, perturbations, as well as performance and paradigm.

In this paper we present a study we conducted to assess physical and perceptual properties of a tactile display for a tactile notification system within the CIRMMT Live Electronics Framework (CLEF), a Max-based modular environment for... more

In this paper we present a study we conducted to assess physical and perceptual properties of a tactile display for a tactile notification system within the CIRMMT Live Electronics Framework (CLEF), a Max-based modular environment for composition and performance of live electronic music. Our tactile display is composed of two rotating eccentric mass actuators driven by a PWM signal generated from an Arduino microcontroller. We conducted physical measurements using an accelerometer and two user-based studies in order to evaluate: intensity and spectral peak fre- quency as function of duty cycle, as well as perceptual vibrotactile absolute and differential threshold. Results, ob- tained through the use of a logit regression model, provide us with precise design guidelines. These guidelines will enable us to ensure robust perceptual discrimination between vibrotactile stimuli at different intensities. Among with other characterizations presented in this study, these guidelines will allow us to better design tactile cues for our notification system for live-electronics performance.