ICMC/25/d3/1340 Papers 4B/02 Dynamic Generalized Parametric Control of Digital Music Instruments
02 Dynamic Generalized Parametric Control of Digital Music Instruments
- mentions Arturia/AnalogLab/OB-Xd VST and c74/msp/vst~; he's using Arturia/MiniLab/mkII
- 14:14 implications for spatalization
- you could have a bunch of different VSTs all the same but out of phase
- paper talks about that
✅ Prior Art Review
1. Int.lib – Oli Larkin (2007)
- Wrapper for
vst~ in Max/MSP. - Enables interpolation for all parameters.
- Skips non-continuous parameters.
- Decouples UI from the Max patch logic.
- Omits discussion of musical impact or results.
2. J74 Morph – Fabrizio Poce (2012)
- Adds preset interpolation functionality to Max for Live devices.
3. Arturia Polybrute (2021)
- Commercial hardware synth.
- Provides interpolation between presets.
✅ Context from Eric Lyon’s Paper
Core Contribution
- Describes a general method for parameter mapping of DMIs using VST plug-ins.
- Emphasizes:
- Simplicity of implementation.
- Broad applicability to existing DMI processing.
- Rich, evolving timbral control for musical expression.
- Applicability beyond VSTs to
Csound, c74/max, PureData, SuperCollider, etc.
Unique Insights
- Shows how parameter interpolation enables dynamic, hard-to-achieve behaviors.
- Claims that simple interpolation can produce musically compelling and complex results that aren’t possible through static parameter tweaking.
- Mentions implications for machine learning—suggesting interpolation could enable adaptive or generative models.
📌 Synthesis
- positioning Lyon’s interpolation-centric method as musically potent and algorithmically accessible, in contrast to prior art:
- Larkin: Strong technical abstraction, but no musical analysis.
- Poce & Arturia: Focused on UI/preset morphing, but less academically or musically rigorous.
- Lyon’s work bridges parameter mapping and expressive musical output, offering a platform for further ML or AI research.
🟧 Reference: Automated Sound Design by Eric Lyon #Book
- Book: Automated Sound Design
- Author: Eric Lyon
- Series: The Computer Music and Digital Audio Series, Volume 28
- Relevance: The current work builds upon earlier concepts presented in this book.
Description
- This paper discusses a general approach to mapping the parameters of a digital music instrument (DMI) with a focus on Virtual Studio Technology (VST) plug-ins. This approach is characterized by its simplicity of implemen-tation, its general applicability to existing DMI signal processing algorithms, and its ability to produce rich, dynamic timbres for musical performance. The focus is on VST plug-ins because there are many thousands of VSTs in existence, but the techniques described here can be applied to DMIs coded in Csound, c74/max, PureData, SuperCollider, or any other acoustic compiler. High-level control is applied to the DMI through interpolation of its parameters, which can create a constantly changing timbre environment for performers. Despite the simplicity of the method, a surprising amount of sonic variety and musical behaviors can be generated that would be diffi-cult or impossible to produce through more traditional manipulation of DMI parameters. The implications of this approach for machine learning are also discussed.
#Author Person/Eric Lyon
- Eric Lyon is a composer and audio researcher focused on high-density loudspeaker arrays, dynamic timbres, virtual drum machines, and performer-computer interactions. His audio signal processing software includes “FFTease” and “LyonPotpourri.” He has authored two computer music books, “Designing Audio Objects for Max/MSP and Pd,” a guidebook for writing audio DSP code for live performance, and “Automated Sound Design,” a book that presents technical processes for implementing oracular synthesis and processing of sound across a wide domain of audio applications. In 2015-16, Lyon architected both the Spatial Music Workshop and Cube Fest at Virginia Tech to support the work of other artists working with high-density loudspeaker arrays. In 2025 he created the Spatial Audio Tidepool to provide technical instruction for creative uses of high-density loudspeaker arrays. Lyon’s compositional work has been recognized with a ZKM Giga-Hertz prize, MUSLAB award, the League ISCM World Music Days competition, and a Guggenheim Fellowship. Lyon is Professor of Practice in the School of Performing Arts at Virginia Tech, and is a Faculty Fellow at the Institute for Creativity, Arts, and Technology.