![Chris Dewey: Considering alternative user interfaces for music production [11.12.2018] @HuddCeReNeM](https://i.ytimg.com/vi/LXvkSGRoKfQ/hqdefault.jpg)
Uploaded December 2018 | Updated September 2026, 1 week ago
Chris Dewey outlines his approach to developing new user interfaces for music production
pure.hud.ac.uk/en/persons/christopher-dewey
research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab
Despite the widespread adoption of the digital audio workstation as the heart of the modern recording studio and the move from mainly analogue to mainly digital/software architectures the interfaces we use for music production still adhere to traditional implementation-centric design paradigms. This talk outlines our approach to developing new user interfaces for music production. Central to this work is the use of HTML5, JavaScript and the Web Audio API for prototyping and evaluating novel designs. Several interface concepts will be presented, demonstrated and discussed. There will be opportunity for the group to inform the development of a novel interface for single track equalisation towards the end of the session.
References:
Carrascal, J. P., & Jordà, S. (2011). Multitouch Interface for Audio Mixing. In NIME (pp. 100-103).
Gelineck, S., Overholt, D., Büchert, M., & Andersen, J. (2013, May). Towards an Interface for Music Mixing based on Smart Tangibles and Multitouch. In NIME (pp. 180-185).
Dewey, C., & Wakefield, J. P. (2017). Formal usability evaluation of audio track widget graphical representation for two-dimensional stage audio mixing interface. Journal of the Audio Engineering Society.
De Man, B., Jillings, N., & Stables, R. (2018) COMPARING STAGE METAPHOR INTERFACES AS A CONTROLLER FOR STEREO POSITION AND LEVEL. 4th Workshop for Intelligent Music Production
Bourne, H., & Reiss, J. D. (2013, October). Evaluating iBall—An Intuitive Interface and Assistive Audio Mixing Algorithm for Live Football Events. In Audio Engineering Society Convention 135. Audio Engineering Society.
Gibson, D. (1997). The art of mixing: A visual guide to recording. Engineering, and Production, 236. youtube.com/watch?v=es6VdpN6lb4
Gibson, D. A. (1998). U.S. Patent No. 5,812,688. Washington, DC: U.S. Patent and Trademark Office.
Gelineck, S., & Overholt, D. (2015, October). Haptic and visual feedback in 3D audio mixing interfaces. In Proceedings of the Audio Mostly 2015 on Interaction With Sound (p. 14). ACM.
Chris Dewey outlines his approach to developing new user interfaces for music production
pure.hud.ac.uk/en/persons/christopher-dewey
research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab
Despite the widespread adoption of the digital audio workstation as the heart of the modern recording studio and the move from mainly analogue to mainly digital/software architectures the interfaces we use for music production still adhere to traditional implementation-centric design paradigms. This talk outlines our approach to developing new user interfaces for music production. Central to this work is the use of HTML5, JavaScript and the Web Audio API for prototyping and evaluating novel designs. Several interface concepts will be presented, demonstrated and discussed. There will be opportunity for the group to inform the development of a novel interface for single track equalisation towards the end of the session.
References:
Carrascal, J. P., & Jordà, S. (2011). Multitouch Interface for Audio Mixing. In NIME (pp. 100-103).
Gelineck, S., Overholt, D., Büchert, M., & Andersen, J. (2013, May). Towards an Interface for Music Mixing based on Smart Tangibles and Multitouch. In NIME (pp. 180-185).
Dewey, C., & Wakefield, J. P. (2017). Formal usability evaluation of audio track widget graphical representation for two-dimensional stage audio mixing interface. Journal of the Audio Engineering Society.
De Man, B., Jillings, N., & Stables, R. (2018) COMPARING STAGE METAPHOR INTERFACES AS A CONTROLLER FOR STEREO POSITION AND LEVEL. 4th Workshop for Intelligent Music Production
Bourne, H., & Reiss, J. D. (2013, October). Evaluating iBall—An Intuitive Interface and Assistive Audio Mixing Algorithm for Live Football Events. In Audio Engineering Society Convention 135. Audio Engineering Society.
Gibson, D. (1997). The art of mixing: A visual guide to recording. Engineering, and Production, 236. youtube.com/watch?v=es6VdpN6lb4
Gibson, D. A. (1998). U.S. Patent No. 5,812,688. Washington, DC: U.S. Patent and Trademark Office.
Gelineck, S., & Overholt, D. (2015, October). Haptic and visual feedback in 3D audio mixing interfaces. In Proceedings of the Audio Mostly 2015 on Interaction With Sound (p. 14). ACM.
![Chris Dewey: Considering alternative user interfaces for music production [11.12.2018]](https://i.ytimg.com/vi/LXvkSGRoKfQ/mqdefault.jpg "Chris Dewey: Considering alternative user interfaces for music production [11.12.2018]
Chris Dewey outlines his approach to developing new user interfaces for music production
https://pure.hud.ac.uk/en/persons/christopher-dewey
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/
Despite the widespread adoption of the digital audio workstation as the heart of the modern recording studio and the move from mainly analogue to mainly digital/software architectures the interfaces we use for music production still adhere to traditional implementation-centric design paradigms. This talk outlines our approach to developing new user interfaces for music production. Central to this work is the use of HTML5, JavaScript and the Web Audio API for prototyping and evaluating novel designs. Several interface concepts will be presented, demonstrated and discussed. There will be opportunity for the group to inform the development of a novel interface for single track equalisation towards the end of the session.
References:
Carrascal, J. P., & Jordà, S. (2011). Multitouch Interface for Audio Mixing. In NIME (pp. 100-103).
Gelineck, S., Overholt, D., Büchert, M., & Andersen, J. (2013, May). Towards an Interface for Music Mixing based on Smart Tangibles and Multitouch. In NIME (pp. 180-185).
Dewey, C., & Wakefield, J. P. (2017). Formal usability evaluation of audio track widget graphical representation for two-dimensional stage audio mixing interface. Journal of the Audio Engineering Society.
De Man, B., Jillings, N., & Stables, R. (2018) COMPARING STAGE METAPHOR INTERFACES AS A CONTROLLER FOR STEREO POSITION AND LEVEL. 4th Workshop for Intelligent Music Production
Bourne, H., & Reiss, J. D. (2013, October). Evaluating iBall—An Intuitive Interface and Assistive Audio Mixing Algorithm for Live Football Events. In Audio Engineering Society Convention 135. Audio Engineering Society.
Gibson, D. (1997). The art of mixing: A visual guide to recording. Engineering, and Production, 236. https://www.youtube.com/watch?v=es6VdpN6lb4
Gibson, D. A. (1998). U.S. Patent No. 5,812,688. Washington, DC: U.S. Patent and Trademark Office.
Gelineck, S., & Overholt, D. (2015, October). Haptic and visual feedback in 3D audio mixing interfaces. In Proceedings of the Audio Mostly 2015 on Interaction With Sound (p. 14). ACM.")
![Liza Lim: How Forests Think (2016) [TRAILER]](https://i.ytimg.com/vi/MTFoqBxrdxo/mqdefault.jpg "Liza Lim: How Forests Think (2016) [TRAILER]
Composer Liza Lim, Chinese Sheng player Wu Wei, and members of the ELISION Ensemble introduces her work How Forests Think during its rehearsal and performance at //hcmf2017. A recording of the work is available to purchase on Huddersfield Contemporary Records - HCR13CD The wreck of former boundaries.
https://www.nmcrec.co.uk/huddersfield-contemporary-records/wreck-former-boundaries
https://lizalimcomposer.wordpress.com/
http://www.elision.org.au/")
![Richard Barrett: entoptic for percussion and electronics and other recent work [30.04.2019]](https://i.ytimg.com/vi/NIbF3_FRRBs/mqdefault.jpg "Richard Barrett: entoptic for percussion and electronics and other recent work [30.04.2019]
Richard Barrett joins the CeReNeM colloquium to discuss his new work entoptic for percussion and electronics as well as other recent pieces. entoptic was premiered by Peter Neville/ELISION Ensemble the night before at St Pauls Hall, University of Huddersfield.
https://richardbarrettmusic.com/
https://research.hud.ac.uk/institutes-centres/cerenem/")
