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Effets audionumériques adaptatifs : théorie, mise en œuvre et usage en création musicale numérique.

Abstract : This PhD thesis addresses the theory, the implementation and the musical use of adaptive digital audio effects. In the first part, we situate the subject in the context of sound transformations. There exist a great number of signal processing techniques that complete each other and provide a complete set of algorithms for sound transformations. These transformations are applied according to the sound perceptive dimensions, namely dynamics, duration, pitch, spatialisation and timbre. For some effects, the control evolves in an automatic or periodic way, and this control is integrated to the algorithm. The control let to the user is about some parameters of the algorithm. It is given by real controllers, such as knobs, switches, or by virtual controllers, such as the graphical interfaces on computer screens. A main interest in sound synthesis today is the mapping: the topic is to find how we can map the gesture transducer data to the parameters of the synthesis algorithm. Our study is situated at the intersection between digital audio effects, adaptive and gestural control, and sound features. In the second part, we present adaptive digital audio effects, in the way we formalised and developed them. These effects have their controls automated according to sound features. We studied and used a lot of processing algorithms, some in real-time and some out of real-time. We improved them in order to use varying control values. A reflexion was carried out in order to choose a meaningful classification to the musician: the perceptive taxonomy. In parallel, we studied sound features and descriptors, and the ways to control an effect, by the sound and by gestures. We brought together numerous sound features that are used in psycho-acoustics, for analysis-synthesis, for sound segmentation, for sound classification and retrieval, and for automatic transcription of music. We propose a generalised control for adaptive effects, structured with two levels. The first control level is the adaption level: sound features control the effect with mapping functions. We give a set of warping functions (non-linear transfer functions) allowing transformations of the evolution of sound feature curves; we also give feature combination functions and specific warping functions used to warp a control curve according to specific rules. The second control level is the gesture control, which is applied onto the mapping functions between sound features and controls, during combination or during specific warping. This study provides a generalisation of the control of digital audio effects, as well as the conception of toolboxes for composition, and their use in musical context. Numerous experiments and sound examples have been made, among which an adaptive spatialisation controlled by a dancer, and an adaptive stereophonic equaliser. The experiments confirm the interest of such an adaptive and gestural control, for example to change expressiveness of a musical sentence, or to create new sounds.
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Contributor : Vincent Verfaille <>
Submitted on : Monday, February 2, 2004 - 7:52:25 PM
Last modification on : Saturday, January 9, 2021 - 5:34:41 PM
Long-term archiving on: : Wednesday, September 12, 2012 - 1:05:11 PM



  • HAL Id : tel-00004448, version 1


Vincent Verfaille. Effets audionumériques adaptatifs : théorie, mise en œuvre et usage en création musicale numérique.. Acoustique [physics.class-ph]. Université de la Méditerranée - Aix-Marseille II, 2003. Français. ⟨tel-00004448⟩



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