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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Tablado
    • Musical creation around Outer Space
    • Campo Abierto
    • Musical creation around Dream Work
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    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
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    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

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  • Maxime Mantovani 2/4 : Meeting with Philippe Esling
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April 5, 2022
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Maxime Mantovani 2/4 : Meeting with Philippe Esling

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Le blog des résidences artistiques
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As part of his artistic research residency, Maxime Mantovani is developing an organic control interface for a sound synthesis engine using artificial intelligence models. A proposal that came at the right time, says Philippe Esling, head of the research team working with the composer.

When Maxime's proposal first reached us," recalls researcher Philippe Esling, "it was perfectly in line with our scientific preoccupations at the time: to develop a meaningful control for artificial intelligence. Today, either the machine works by itself, almost autonomously (even if it only does what we ask it to do), or it generates a waveform that follows a source signal. An organological gesture associated with artificial intelligence is sorely lacking."

One of the main challenges is generating sound in real-time.

Philippe Esling is joined by doctoral student Antoine Caillon and post-doc Axel Chemla-Romeu-Santos in the team which relies on models they have already developed, notably the timbre transfer model. From a source sound signal, the machine generates a sound that follows the same profile (or at least some selected parameters of this profile), but in a different timbre (for example: at the input, a violin melody, at the output, a singing voice), following exactly the same profile, and even the expressive contours of the musical line, adapting them to the destination timbre. Then, instead of a sound signal, the machine will have to be able to interpret the information imparted to it by the musician, via the control interface developed by Maxime Mantovani and Emmanuel Fléty.

"Maxime's involvement in the team and his feedback on the different models he tests means that we can test these models and their sound qualities, better determine their usability limits, as well as their latency (the time needed for the machine to generate the new speech according to the input, the idea being to get as close as possible to instantaneousness), and therefore develop new ones, much faster than usual," explains Philippe Esling.

Maxime's contribution was unique and without his remarkable work it would have been impossible to obtain generation models of the musical quality we have today.

Photo 1 : Philippe Esling
Photo 2 : Maxime Mantovani dans les studios de l'ircam

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