Baptiste Bacot

• Ballester, Charles; Bacot, Baptiste; Bigo, Louis; Borsan, Vanessa Nina; Couturier, Louis & D¨¦guernel, Ken [Vis alle 23 forfattere av denne artikkelen] (2025). Interacting with Annotated and Synchronized Music Corpora on the Dezrann Web Platform. Transactions of the International Society for Music Information Retrieval. doi: 10.5334/tismir.212.

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• Bacot, Baptiste (2025). Mr. Bill: a case study of the entangled platforms of electronic music production. Vis sammendrag

  Mr. Bill is a professional producer and educator who has been publishing content for over fifteen years. As an Ableton Live expert user, he regularly livestreams his music production sessions on Twitch. This content¡ªthe video files, the Ableton Live sets, and other resources as well¡ªis available on his website (mrbillstunes.com). Additionally, Mr. Bill is the founder of Billegal Beats, a music and sample pack label that publishes material on music streaming platforms and Splice, respectively. These activities, along with music releases, touring, merchandising sales, are promoted and discussed on a dedicated Discord server. Mr. Bill is therefore serves as a perfect case for questioning the entangled platforms that support electronic music production on various levels. By exploring the material Mr. Bill has generated over the last decade, this paper addresses two questions regarding research methodology and musical creativity. Firstly, it examines the issues surrounding the value of music platformization data: how can the wealth of digital information generated be leveraged for empirical musicology and popular music studies? Secondly, it engages with the impacts of platformization on musical creativity: whereas music production has always been a covert activity, it is now conducted in semi-public and interactive formats where viewers can watch and comment. What is the weight of this new setting on the creativity of the producers and eventually, on the final product? Concluding remarks will highlight the layered and interdependent structure of platforms as key factor for building a successful career, while also reassessing the so-called ¡°democratization¡± that companies claim to bring through their digital products.

• Bacot, Baptiste (2025). Sampling and resampling in Bass music. A musicological perspective from the DAW. Vis sammendrag

  This presentation explores sampling practices in EDM production. Sampling involves extracting audio fragments from preexisting records and using them in new musical contexts. Though rooted in post-WW2 avant-garde music, sampling is now ubiquitous across numerous musical genres. Despite its longstanding use, it is most often examined from a legal and copyright perspective (Demers 2006; Br?vig 2023), whereas musicological aspects¡ªmore complex than they appear at first glance¡ªare often overlooked. Although detailed accounts of sampling are scarce, they do exist (Butler 2014; D¨¦on 2020; Harkins 2020) and encourage conceptualization at the intersection of creativity and technology. Following this route, and leveraging Ratcliffe¡¯s (2014) typology of sampled material within EDM, as well as drawing inspiration from sketch studies (Sallis 2015), this paper examines a collection of Ableton Live projects (.als files) and video live streams by senior producer, DJ, and educator Mr. Bill. Analyzing this material reveals the sampling stages clearly, along with the digital processing that follows the import of sounds into the project. This investigation highlights various sampling techniques, particularly resampling, which involves sampling sounds from within the DAW. This self-sampling approach allows producers to create new sounds from existing materials within the current project through the signal routing capabilities of the software. Consequently, sampling becomes an internal process for generating new sonic material without needing external sounds. This study contributes to a better understanding of the technological practices in hyper-contemporary popular music by shedding light on the micro-level implications of recording as a technology.

• Bacot, Baptiste; navarret, Beno?t & Bigo, Louis (2025). ¡°Intabula rasa¡±: An exploratory user study of tablature software and perspectives on popular music creativity with algorithmic tools. doi: https:/vimeo.com/1094106619. Vis sammendrag

  What are the affordances of music notation software (MNS), and how do they impact musical creativity? This paper specifically examines tablature software (TS); seldom studied, they are a good entry point to question the weight digital notation has on the creative process in popular music. Do TS design and features influence creativity? How does a new composition begin in these environments, and how is it subsequently built? Can a better understanding of these processes inspire the development of user-centered algorithms that could foster new beginnings at different stages of composition? Results from a mixed-method study (a questionnaire, interviews and TS tasks) provide a deeper understanding of the perception and use of tablature software, and reveal salient topics of TS creativity. Then, in an effort to bridge the gap between musicology, music practices and computer science, these findings are harnessed to conceptualize algorithmic tools for composition. A set of research and development tracks that could potentially improve guitarists¡¯ experience when composing music with a TS is proposed, and two prototypes are presented, paving the way for new beginnings in music technology and creativity.

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