The authors present a collaborative effort on establishing an online course in DSP eartraining. The paper reports from a preliminary workshop that covered a large range of topics such as eartraining in music education, terminology for sound characterization, e-learning, automated tutoring, DSP techniques, music examples and audio programming. An initial design of the web application is presented as a rich content database with flexible views to allow customized online presentations. Technical risks have already been mitigated through prototyping.

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This paper will describe a toolkit for experimentation with signal interaction techniques, also commonly referred to as cross adaptive processing. The technique allows analyzed features of one audio signal to inform the processing of another. Earlier used mainly for mixing and post production purposes, we now want to use it creatively as an intervention in the musical communication between two performers. The idea stems from Stockhausen’s use of intermodulation in the 1960’s, and as such we might also call the updated technique interprocessing. Our interest in the technique comes as a natural extension to previous research on live processing as an instrumental and performative activity. The automatic control of signal processing routines is related to previous work on adaptive audio effects and automatic mixing. The focus for our investigation and experimentation with the current toolkit will be how this affects the musical communication between performers, and how it changes what they can and will play. The program code for the toolkit is available as a github repository1 under an open source license.

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Electronic music often uses dynamic and synchronized digital audio effects that cannot easily be recreated in live performances. Cross-adaptive effects provide a simple solution to such problems since they can use multiple feature inputs to control dynamic variables in real time. We propose a generic scheme for cross-adaptive effects where onset detection on a drum track dynamically triggers effects on other tracks. This allows a percussionist to orchestrate effects across multiple instruments during performance. We describe the general structure that includes an onset detection and feature extraction algorithm, envelope and LFO synchronization, and an interface that enables the user to associate different effects to be triggered depending on the cue from the percussionist. Subjective evaluation is performed based on use in live performance. Implications on music composition and performance are also discussed. Keywords: Cross-adaptive digital audio effects, live processing, real-time control, Csound.

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This paper describes a method for doing convolution of two live signals, without the need to load a time-invariant impulse response (IR) prior to the convolution process. The method is based on stepwise replacement of the IR in a continuously running convolution process. It was developed in the context of creative live electronic music performance, but can be applied to more traditional use cases for convolution as well. The process allows parametrization of the convolution parameters, by way of real-time transformations of the IR, and as such can be used to build parametric convolution effects for audio mixing and spatialization as well.

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