Welcome to the homepage of AMT (Acoustics and Music Technology) Seminars at the University of Edinburgh (formally the MusICA seminars). AMT Seminars are run by the Acoustics and Audio Group (School of Music).

AMT Seminars cover a wide range of current research topics in fields related to the scientific understanding of sound and music. Archives of past seminars, including many video recordings, are available on the dedicated Archives page (and below).

Upcoming seminars

• Nils Meyer-Kahlen: Audio for AR as a new challenge for Virtual Acoustics

Seminar archive (most recent at the top)

• Nils Meyer-Kahlen: Audio for AR as a new challenge for Virtual Acoustics
• Rob Briers: Freshwater ecoacoustics: the small, the drab and the noisy
• Lawrence Sarkar: From Audio Research to Everyday Consumer Products — Cirrus Logic’s Journey of Audio Excellence
• Ville Pulkki: Superhearing, Laser Beams, and Windy Yelling — Spatial Audio Oddities Unleashed!
• Miller Puckette: How are human/machine musical ensembles different from purely human ones?
• Annika Neidhardt: Audio systems for augmented and extended reality – promising technological approaches
• Vesa Välimäki: Machine learning and digital audio effects
• Julian Parker: Recent advances in generative modelling of musical audio
• Henna Tahvanainen: An acoustician’s exploration at the nexus of guitar craftsmanship and technology
• Fabian Brinkmann: Head-related transfer function interpolation: An overview of algorithmic approaches
• Enzo De Sena: Low-complexity Room Acoustic Rendering for AR/MR/VR
• Amelia Gully: An introduction to the acoustics of the human voice for forensic speaker recognition
• Craig Webb: Developing plugins using physical modelling synthesis and JUCE
• Romain Michon: Embedded Real-Time Audio DSP With the Faust Programming Language
• Li Su: AI and recent developments in music information retrieval
• Chris Buchanan: Singing Synthesis
• Dario D’Orazio: Measuring Room Impulse Responses in Noisy Environments
• Archontis Politis: Reproducing recorded spatial sound scenes – Parametric and non-parametric approaches
• Kurt Werner: “Boom Like an 808” – Secrets of the TR-808 Bass Drum’s Circuit
• Braxton Boren: Acoustic Simulation of Soundscapes from History
• Jens Ahrens: Current Trends in Binaural Auralization of Microphone Array Recordings
• Augusto Sarti: Plenacoustic Capturing and Rendering – A New Paradigm for Immersive Audio
• Nick Collins: Musical Machine Listening in the Web Browser

• Jonathan Kemp: Matching the pitch sensitivity of guitar strings
• Stefania Serafin: Sonic interaction design for cultural heritage
• Chris Pike: The Next Generation of Broadcast Audio
• Jules Storer: Audio development
• Eita Nakamura: Bayesian Learning for Modelling Repeated and Modified Musical Note Patterns
• Colin Gough: Violin acoustics – An introduction and recent developments
• Rodrigo Schramm: Automatic transcription of a cappella recordings from multiple singers
• Federico Fontana: What do we play in the piano? (and) What in the piano do we hear?
• David Antony Reid: The Luthier’s Approach Guitar Making
• Claudia Fritz: Stradivarius – Myth or Reality?
• Annalisa Bonfiglio: Large-area, multi-modal sensing platforms based on organic transistors
• Jonathan Hargreaves: Auralising rooms from computer models
• Leslie Smith: Exploiting neural spike coding for sound
• Ivan Linscott: First Results from The New Horizons Encounter at Pluto
• Gadi Sassoon: Advanced Sound Synthesis and Professional Studio Practice: A Working Composer’s Perspective on Usability and Parameter Mapping
• Thomas Hélie: New tools for modelling musical systems and exploring musical sound
• Jim Woodhouse: Why does a lute sound different from a guitar?
• Bastiaan van der Weij: Modelling meter perception in music with predictive coding and perceptual inference
• Chris Chafe: From Musifications to Intelligible Data Sonifications
• Bob Sturm: Out of the barn and into the yard, and other colourful results from my recent paroxysm about the practice of evaluation in machine music listening
• Bruno Giordano: The perceptual and cerebral processing of natural sounds
• Tobias Reichenbach: From sound waves to brain waves
• Simon Dixon: Measuring and Modelling Intonation and Temperament
• Michele Ducceschi: Sound synthesis of gongs using a modal scheme – development and examples
• Federico Avanzini: A mixed structural modeling approach to personalized 3D binaural sound rendering
• Roger B. Dannenberg: Music Understanding and the Future of Music Performance
• Lauri Savioja: Room Acoustics Modelling and Parallel Computation
• Mark Granroth-Wilding: Parsing Jazz: Harmonic Analysis of Music Using Combinatory Categorial Grammar
• Arturo Moleti: Probing human hearing with otoacoustic emissions
• Vesa Valimaki: Virtual Analog Modeling Research at Aalto University
• Chris Watson: In Britten’s Footsteps
• Stefan Bilbao & colleagues: Next Generation Sound Synthesis (NESS)
• Wilfried Kausel: Musical Acoustics Research at the University of Music and Performing Arts (Vienna)
• Martin Rohrmeier: Musical Syntax and Its Cognitive Implications
• Damian Murphy: Strategies in Acoustic Simulation – Big Rooms and Small Voices