Mapping strategies for gestural and adaptive control of digital audio effects

Journal of New Music Research

Volumn 35, Issue 1, 2006, Pages 71-93

  Verfaille, Vincent ^a   Wanderley, Marcelo ^a   Depalle, Philippe ^a  

^a MCGILL UNIVERSITY   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33745104091     PISSN: 09298215     EISSN: 17445027     Source Type: Journal    
DOI: 10.1080/09298210600696881     Document Type: Article

References (49)

1. Allouis, J.-F. (1984). Logiciels pour le système temps réel syter. Paper presented at the International Computer Music Conference (ICMC'84), Paris.
2. Amatriain, X., Bonada, J., Loscos, A., Arcos, J.L. & Verfaille, V. (2003). Content-based transformations. Journal of New Music Research, 52(1), 95-114.
3. Arfib, D., Couturier, J.-M. & Kessous, L. (2002a). Gestural strategies for specific filtering processes. Paper presented at the International Conference on Digital Audio Effects (DAFx-02) (pp. 1-6), Hamburg, Germany.
4. Arfib, D., Couturier, J.-M., Kessous, L. & Verfaille, V. (2002b). Strategies of mapping between gesture parameters and synthesis model parameters using perceptual spaces, Organised Sound 7(2), 135-152.
5. Arfib, D., Keiler, F. & Zölzer, U. (2002c). In U. Zoelzer (Ed.), DAFX - Digital Audio Effects. New York: J. Wiley & Sons, Chapter Source-Filter Processing, pp. 299-372.
6. Arfib, D. & Verfaille, V. (2003). Driving pitch-shifting and time-scaling algorithms with adaptive and gestural techniques. Paper presented at the International Conference on Digital Audio Effects (DAFx-03) (pp. 106-111), London, England.
7. Bailey, N.J., Purvis, A., Bowler, I.W. & Manning, P.D. (1993). Applications of the phase vocoder in the control of real-time electronic musical instruments. Interface 22, 259-275.
8. Beauchamp, J.W. (1982). Synthesis by spectral amplitude and "brightness" matching of analyzed musical instrument tones. Journal of the Audio Engineering Society 30(6), 396-406.
9. Bevilacqua, F., Müller, R. & Schnell, N. (2005). MnM: a Max/MSP mapping toolbox. Paper presented at International Conference on New Interfaces for Musical Expression (pp. 85-88), Vancouver.
10. Bregman, A. (1990). Auditory Scene Analysis. Cambridge, MA: MIT Press.
11. Burtner, M. (2002). The metasaxophone: concept, implementation, and mapping strategies for a new computer music instrument. Organised Sound, 7(2), 201-214.
12. Cadoz, C. & Wanderley, M.M. (2000). Gesture-music. In M.M. Wanderley & M. Battier (Eds), Trends in Gestural Control of Music. Paris (Centre Pompidou): IRCAM.
13. Chadabe, J. (2002). The limitations of mapping as a structural descriptive in electronics instruments. Paper presented at the International Conference on New Interfaces for Musical Expression (pp. 197-201), Dublin.
14. Depalle, P., Garcia, G. & Rodet, X. (1995). Reconstruction of a castrato voice: Farinelli's voice. Paper presented at the IEEE Workshop on Applications of Digital Signal Processing to Audio and Acoustics (pp. 242-245).
15. Doornbusch, P. (2002). Composers' views on mapping in algorithmic composition. Organised Sound, 7(2), 145-156.
16. Dutilleux, P. & Zölzer, U. (2002). In U. Zoelzer (Ed.), DAFX - Digital Audio Effects. New York: J. Wiley & Sons, Chapter Nonlinear Processing, pp. 93-135.
17. Egozy, E.B. (1995). Deriving musical control features from a real-time timbre analysis of the clarinet. Master's thesis, Massachusetts Institut of Technology.
18. Favreau, E. (2001). Phase vocoder applications in GRM tools environment. Paper presented at the COST-G6 Workshop on Digital Audio Effects (DAFx-01) (pp. 134-137), Limerick, Ireland.
19. Fels, S. (1994). Glove Talk II: Mapping Hand Gestures to Speech Using Neural Networks. PhD thesis, University of Toronto.
20. Goudeseune, C. (2002). Interpolated mappings for musical instruments. Organised Sound, 7(2), 85-96.
21. Hunt, A. & Wanderley, M.M. (2002). Mapping Performer Parameters to Synthesis Engines. Organised Sound, 7(2), 97-108.
22. Hunt, A., Wanderley, M.M. & Paradis, M. (2002). The importance of parameter mapping in electronic instrument design. Organised Sound, 7(2), 429-440.
23. Jolliffe, I.T. (1986). Principal Component Analysis. Berlin: Springer-Verlag.
24. Levitin, D.J., McAdams, S. & Adams, R.L. (2002). Control parameters for musical instruments: a foundation for new mappings of gesture to sound. Organised Sound, 7(2), 171-190.
25. Marino, G., Serra, M.-H. & Raczinski, J.-M. (1993). The UPIC system: origins and innovations. Perspectives of New Music, 31(1), 258-269.
26. Marrin-Nakra, T. (2000). Searching for meaning in gestural data: interpretive feature extraction and signal processing for affective and expressive content. In M.M. Wanderley & M. Battier (Eds), Trends in Gestural Control of Music. Paris (Centre Pompidou): IRCAM.
27. Métois, E. (1998). Musical gestures and audio effects processing. Paper presented at the COST-G6 Workshop on Digital Audio Effects (DAFx-98) (pp. 249-253), Barcelona, Spain.
28. Myatt, T. (2002). Strategies for interaction in construction 3. Organised Sound, 7(2), 157-170.
29. Pulkki, V. (1997). Virtual sound source positioning using vector base amplitude panning. Journal of the Audio Engineering Society, 45(6), 456-466.
30. Risset, J.-C. (2002). Examples of the musical use of digital audio effects. Journal of New Music Research, 31(2), 93-97.
31. Rochebois, T. (1997). Méthodes d'analyse/synthèse et représentations optimales des sons musicaux basées sur la réduction de données spectrales. PhD thesis, University of Paris XI, France.
32. Ryan, J. (1992). Effort and expression. Paper presented at the International Computer Music Conference (ICMC92) (pp. 414-416), San Francisco.
33. Schaeffer, P. & Reibel, G. (1998). Solfège des Objets Sonores, Seuil/INA-GRM.
34. Sédès, A., Courribet, B., Thiébaut, J.-B. & Verfaille, V. (2003). Chapter Visualisation de l'Espace Sonore, vers la Notion de Transduction: une Approche Intéractive Temps-Réel. Espaces Sonores - Actes de Recherches. Paris: CICM-EMT, pp. 125-143.
35. Steiner, J.-C. (2005). [hid] toolkit: a unified framework for instrument design. Paper presented at International Conference on New Interfaces for Musical Expression (pp. 140-143), Vancouver.
36. Terrugi, D. (2001). L'interpolateur, une interface de contrôle multi-paramérique. Paper presented at the Journées d'Informatique Musicale (JIM'01).
37. Todoroff, T. (2002). In U. Zoelzer (Ed.), DAFX - Digital Audio Effects. New York: J. Wiley & Sons, Chapter Control of Digital Audio Effects, pp. 465-497.
38. Traube, C. & Smith, J.O. (2000). Estimating the plucking point on a guitar string. In Proceedings of the COST-G6 Workshop on Digital Audio Effects (DAFx-00), Verona, Italy.
39. Verfaille, V. (2003). Effets Audionumériques Adaptatifs: Théorie, Mise en œuvre et Usage en Création Musicale Numérique. PhD thesis, Université de la Méditerranée (Aix-Marseille II).
40. Verfaille, V. & Arfib, D. (2001). ADAFx: adaptive digital audio effects. Paper presented at the COST-G6 Workshop on Digital Audio Effects (DAFx-01) (pp. 10-14), Limerick, Ireland.
41. Verfaille, V. & Arfib, D. (2002). Implementation strategies for adaptive digital audio effects. Paper presented at the International Conference on Digital Audio Effects (DAFx-02) (pp. 21-26), Hamburg, Germany.
42. Verfaille, V., Zölzer, U. & Arfib, D. (2006). Adaptive digital audio effects (A-DAFx): a new class of sound transformations. IEEE Transactions on Audio, Speech and Language Processing, 14(5), in press.
43. Wanderley, M., Schnell, N. & Rovan, J.B. (1998). Escher - modeling and performing composed instruments in real-time. Paper presented at the IEEE International Conference on Systems, Man and Cybernetics (SMC'98) (pp. 1080-1084), San Diego.
44. Wanderley, M.M. (2002). Mapping strategies in real-time computer music. Organised Sound, 7(2), 83-84.
45. Wanderley, M.M. & Depalle, P. (2000). Gesturally controlled digital audio effects. Paper presented at the COST-G6 Workshop on Digital Audio Effects (DAFx-00) (pp. 165-169), Verona, Italy.
46. Wanderley, M.M. & Depalle, P. (2004). Gestural control of sound synthesis. Proceedings of the IEEE, Special Issue on Engineering and Music - Supervisory Control and Auditory Communication, 92(4).
47. Wanderley, M. M. & Battier, M. (Eds) (2000). Trends in Gestural Control of Music. Paris (Centre Pompidou): IRCAM.
48. Zölzer, U. (2002a). In U. Zoelzer (Ed.), DAFX - Digital Audio Effects. New York: J. Wiley & Sons, Chapter Introduction, pp. 1-30.
49. Zölzer, U. (Ed.) (2002b). DAFX - Digital Audio Effects. New York: J. Wiley & Sons.