## Abstracts
### S4. Oral Session 4: SMC Tools and Methodologies  
Session Chair: [PERSON]  
S4.1. A Framework for the Development and Evaluation of Graphical Interpolation for Synthesizer Parameter Mappings  
[PERSON] and [PERSON]  
This paper presents a framework that supports the development and evaluation of graphical interpolated parameter mapping for the purpose of sound design. These systems present the user with a graphical pane, usually two-dimensional, where synthesizer presets can be located. Moving an interpolation point cursor within the pane will then create new sounds by calculating new parameter values, based on the cursor position and the interpolation model used. The exploratory nature of these systems lends itself to sound design applications, which also have a highly exploratory character. However, populating the interpolation space with \"known\" preset sounds allows the parameter space to be constrained, reducing the design complexity otherwise associated with synthesizer-based sound design. An analysis of previous graphical interpolators is presented and from this a framework is formalized and tested to show its suitability for the evaluation of such systems. The framework has then been used to compare the functionality of a number of systems that have been previously implemented. This has led to a better understanding of the different sonic outputs that each can produce and highlighted areas for further investigation.  
S4.2. Composing with Sounds: Designing an Object Oriented DAW for the Teaching of Sound-Based Composition  
[PERSON], [PERSON], [PERSON], [PERSON], and [PERSON]  
This paper presents and discusses the Compose with Sounds (CwS) Digital Audio Workstation (DAW) and its approach to sequencing musical materials. The system is designed to facilitate the composition within the realm of sound-based music wherein sound objects (real or synthesized) are the main musical unit of construction over traditional musical notes. Unlike traditional DAWs or graphical audio programming environments (such as Pure Data, Max MSP, etc.) that are based around interactions with sonic materials within tracks or audio graphs, the implementation presented here is based solely around sound objects. To achieve this, a bespoke cross-platform audio engine known as FSOM (Free Sound Object Mixer) was created in C++. To enhance the learning experience, imagery, dynamic 3D animations, and models are used to allow for efficient exploration and learning. All tools within the system are controlled by a flexible permissions system that allows users or workshop leaders to create sessions with specific features based on their requirements. The system is part of a suite of pedagogical tools currently in development for the creation of experimental electronic music.  
S4.3. Insights in Habits and Attitudes Regarding Programming Sound Synthesizers: A Quantitative Study  
[PERSON]  
Sound synthesis represents an indispensable tool for modern composers and performers, but achieving desired sonic results often requires a tedious manipulation of various numeric parameters. In order to facilitate this process, a number of possible approaches have been proposed, but without a systematic user research that could help researchers to articulate the problem and to make informed design decisions. The purpose of this study is to fill that gap and to investigate attitudes and habits of sound synthesizer users. The research was based on a questionnaire answered by 122 participants, which, beside the main questions about habits and attitudes, covered questions about their demographics, profession, educational background, and experience in using sound synthesizers. The results were quantitatively analyzed in order to explore relations between all those dimensions. The main results suggest that the participants more often modify or create programs than use existing presets or programs and that such habits do not depend on the participants' education, profession, or experience.