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PLAUD represents a significant advancement in generative audio synthesis by integrating variational DDSP models with direct architectural interventions to enhance live performance capabilities. The research demonstrates how specific design choices, such as latent smoothing and transformer priors, inherently shape the system's performative affordances without requiring separate interface layers. This work bridges deep learning techniques with human-computer interaction in creative contexts, offering new tools for electronic musicians utilizing unsupervised sound generation.
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Architecture and Affordances of PLAUD: Performative Latents and Unsupervised DDSP

arXiv2 min read

arXiv:2608.13724v1 Announce Type: cross Abstract: PLAUD (Performative Latents and Unsupervised DDSP) is a neural synthesizer and Max for Live instrument for live electronic music, built on NoiseBandNet and trained on small personal sound corpora. We present its architecture, combining a variational DDSP synthesis model, latent smoothing, multi-scale spectral and adversarial losses, and an optional transformer prior, alongside a set of bending operations that intervene directly in the synthesis chain: component limiting, waveshaping, and prior feedback. The Max for Live interface exposes control generation, trajectory sampling, and modulation as primary modes of interaction. Throughout, we thread an affordance analysis arguing that the system's performative character follows from architectural decisions rather than being designed on top of them. The paper contributes both a technical account of the system and a situated affordance analysis of its role in live electronic music performance.

Abstract:PLAUD (Performative Latents and Unsupervised DDSP) is a neural synthesizer and Max for Live instrument for live electronic music, built on NoiseBandNet and trained on small personal sound corpora. We present its architecture, combining a variational DDSP synthesis model, latent smoothing, multi-scale spectral and adversarial losses, and an optional transformer prior, alongside a set of bending operations that intervene directly in the synthesis chain: component limiting, waveshaping, and prior feedback. The Max for Live interface exposes control generation, trajectory sampling, and modulation as primary modes of interaction. Throughout, we thread an affordance analysis arguing that the system's performative character follows from architectural decisions rather than being designed on top of them. The paper contributes both a technical account of the system and a situated affordance analysis of its role in live electronic music performance.

Sound (cs.SD); Human-Computer Interaction (cs.HC); Machine Learning (cs.LG)

arXiv:2608.13724 [cs.SD]

(or arXiv:2608.13724v1 [cs.SD] for this version)

https://doi.org/10.48550/arXiv.2608.13724 Focus to learn more arXiv-issued DOI via DataCite (pending registration)

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Full text under the publisher's open licence · 233 words

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