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According to Wikipedia , Miller Smith Puckette is the associate director of the Center for Research in Computing and the Arts as well as a professor of music at the University of California, San Diego, where he has been since 1994. Puckette is known for authoring Max, a graphical development environment for music and multimedia synthesis, which he developed while working at IRCAM in the late 1980s. He is also the author of Pure Data , a real-time performing platform for audio, video and graphical programming language for the creation of interactive computer music and multimedia works, written in the 1990s with input from many others in the computer music and free software communities.
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Number of citations in a given year to any of this author's works
Total number of citations to an author for the works they published in a given year. This highlights publication of the most important work(s) by the author
1990 2000 2010 2020 0 50 100 150 200 250 300 350 400 450 500 550 600 Published Works Adversarial Audio Synthesis (2018) (429)Pure Data (1997) (315)An efficient algorithm for the calculation of a constant Q transform (1992) Combining Event and Signal Processing in the MAX Graphical Programming Environment (1991) Real-time audio analysis tools for Pd and MSP (1998) (253)Max at Seventeen (2002) Synthesizing Audio with Generative Adversarial Networks (2018) (155)The Theory and Technique of Electronic Music (2007) A high resolution fundamental frequency determination based on phase changes of the Fourier transform (1993) Phase-locked vocoder (1995) The Patcher (1988) (96)Designing Multi-Channel Reverberators (1982) Synthetic Rehearsal: Training the Synthetic Performer (1985) (88)Score Following in Practice (1992) (72)Accuracy of frequency estimates using the phase vocoder (1998) Calculation of a "narrowed" autocorrelation function. (1989) Score Following Using the Sung Voice (1995) (55)FTS: A Real-Time Monitor for Multiprocessor Music Synthesis (1991) The Architecture of the IRCAM Musical Workstation (1991) New Public-Domain Realizations of Standard Pieces for Instruments and Live Electronics (2001) (41)Using Pd as a score language (2002) (35)Theory and Techniques of Electronic Music (2007) (28)A divide between 'compositional' and 'performative' aspects of Pd ⁄ (2004) (27)Nonobvious roles for electronics in performance enhancement (1993) (27)EXPLODE: A User Interface for Sequencing and Score Following (1990) (26)Formant-Based Audio Synthesis Using Nonlinear Distortion (1995) (24)Low-dimensional parameter mapping using spectral envelopes (2004) (23)Max: Interactive Graphic Programming Environment (1991) Expediting TTS Synthesis with Adversarial Vocoding (2019) Software Developments for the 4X Real-time System (1986) (14)Patch for guitar (2007) (14)Musical Performance Using the IRCAM Workstations (1991) (13)Synthesizing Audio with GANs (2018) (13)Interprocess Communication and Timing in Real-Time Computer Music Performance (1986) (11)Pure Data Barcamp (2010) (11)Infuriating Nonlinear Reverberator (2011) (10)Something Digital (1991) Phase Bashing for sample-Based formant synthesis (2005) (8)Reinventing Audio and Music Computation for Many-Core Processors (2008) (8)Generative Audio Systems Using Power-Preserving All-Pass Filters (2016) ON SPATIAL GESTURES IN BINAURAL SOUND DISPLAY (2011) (8)Thoughts on Parallel Computing for Music (2009) (7)The IRCAM "Real-Time Platform" - Evolutions and Perspectives (1994) (6)A Real-time Operating System for Computer Music (1990) (5)Amplifying musical nuance (1990) Playing a virtual drum from a real one (2011) Not Being There (2009) Extended Convolution Techniques for Cross-Synthesis (2016) (4)Synthesizing Sounds with Specified, Time-Varying Spectra (2001) (4)A case study in software for artists : Max / MSP and Pd (2016) (4)The IRCAM «Real-Time Platform» (1994) (3)Musical Information from a Narrowed Autocorrelation Function (1987) (3)Is There Life After MIDI? (1994) (3)Shannon entropy and the central limit theorem (1986) (3)The Sampling Theorem and Its Discontents (2016) (3)The M Orchestra Language (1984) (3)Generative Feedback Networks Using Time-Varying Allpass Filters (2015) (3)Improving Choral Music Separation through Expressive Synthesized Data from Sampled Instruments (2022) A Pseudoinverse Technique for the Pressure-Matching Beamforming Method (2018) (2)The IRCAM Musical Workstation : A Prototyping and Production Tool for Real-Time Computer Music (1998) (2)Who owns our software ? — a first-person case study (2007) (2)Formant-based audio synthesis using nonlineardistortionMiller (1995) (1)Contemporary Music Performance (2007) (1)Computing While Composing (2007) (1)Maximally uniform sequences from stochastic processes (2015) (1)The Ircam Signal Processing Workstation prototyping environment (1992) Fundamental frequency tracking in the log frequency domain based on a pattern recognition algorithm (1992) Process and device for musical and vocal dynamic sound synthesis by non-linear distortion and amplitude modulation (1997) The IRCAM Signal Processign Workstation and IRCAM Max User Groups: Future Developments and Platforms (1993) (1)The Second Dilemma, or: Tape Music: The Poor Cousin (1991) Hand gesture to timbre converter (2020) (1)Philippe Manoury: Jupiter By Elizabeth McNutt, flute , Miller Puckette. computer, Mandeville Recital Hall University of California at San Diego, La Jolla, California, USA. 26 January 1999 (1999) Grafting Synthesis Patches Onto Live Musical Instruments (2010) (1)Department of Music, University of California, San Diego (1995) (1)A Max Forum (1993) (1)Wavetables and Samplers (2007) Time Shifts and Delays (2007) Phase-bashed packet synthesis: a musical test (2006) (0)The IRCAM signal processing workstation - An environment for research in real-time musical signal processing and performance (1990) Sinusoids, Amplitude and Frequency (2007) Audio and Control Computations (2007) A Demonstration of The Ircam Signal Processing Workstation (1991) The Null Piece and Reality Check (2021) ICMC 2015 Keynote Address (2020) Automation and Voice Management (2007) Real‐time timbre analysis as a technique for live synthesis control (2004) On timbre stamps and other frequency-domain filters (2007) (0)A Four-Channel Reverberation Network (1981) (0)Some Mathematical Tools for Music-Making (2007) (0)A Real-time Music 11 Emulator (1981) (0)REMNANT: EXPLORING PRESENCE AND ABSENCE THROUGH ACOUSTIC DISTURBANCES IN SPACE (2020) (0)Four surprises of electronic music (2017) Max and Pd:Software for real-time interactive music and arts (2006) (0)Event- and sample-based audio processing: A shotgun marriage (2023) The Physical Evaluation of the Efficiency of an Enhanced Pressure-Matching Beamforming Method Using Eigen Decomposition Pseudoinverse Mathematical Approach (2019) (0)About This Issue (2016) (0)Processes in real-time computer music (0)Design choices in Max and Pure Data (2023) Announcements (2003) The Oscillator as a Dynamical System (2017) (0)Fourier Analysis and Resynthesis (2007) Phase-locked Vocoder 1. Phase Vocoder (1995) (0)More Papers This paper list is powered by the following services:
Other Resources About Miller Puckette What Schools Are Affiliated With Miller Puckette? Miller Puckette is affiliated with the following schools:
