A short presentation
Currently, I am working as a researcher in the Music Acoustics team in the University of New South Wales in a number of projects that deal with the non-stationary character of musical sounds. Briefly, if a musical note is too stable it will sound mechanical. Musicians produce a series of effects in wind instruments, for instance, like vibrato or other "sound envelopes" that enrich the sound. In my current research we are looking into how important these effects are for listeners, and how musicians should act to make them sound interesting.
I also hold a lecturer position (Maître de Conférences) in the area of Acoustics and Mechanics in the Université du Maine. Here I led a research project on note attacks produced by wind instruments. This research project was financed by the french research council ANR. It lead to an analytical description of how the sound should grow for a given time-evolution of the blowing pressure.
As a post-doctoral researcher in the Music Acoustics team in the University of New South Wales, Sydney, Australia I studied the physical details of the interaction between a wind instrument player and its instrument, for instance, trying to discover to which extent a good playing can be measured, and to describe the patterns of the action of the musician on the instrument (time evolutions of blowing pressures, forces upon reeds, etc). This will be investigated among wind instrument players with different levels of training. I am still collaborating in a few research projects that are also related to my new research interests.
Previously, I completed a PhD at IRCAM, in Paris, about the physics of double-reed instruments, such as oboes or bassoons. Most of my experiments were focused on the reed of the instrument, its mechanical behavior, and the interaction with the acoustics wave that is formed in the bore. One of the objectives of this study was to propose a physical model for the complete instrument.
Further research focused on the flute and on physics of the jet oscillations on the head of the flute, and the way the jet changes its dynamic characteristics as the musician plays louder or softer. This work was part of a post-doctoral program at the Laboratoire d'acoustique musicale of the University Pierre et Marie Curie in Paris.
I also worked twice on industrial projects aiming to use the results from these studies to simulate the physical behavior of the whole instrument, including the sound it produces. One of this projects eventually became a software plugin called Arturia Brass. This method of synthesising sound is is know as physical modelling.