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School of Electronic Engineering and Computer Science

Dr Charalampos Saitis


Lecturer in Digital Music Processing

Room Number: Engineering, Eng 111
Twitter: @noindent


I am based at the Centre for Digital Music (C4DM), where I study psychoacoustics and cross-sensory perception, and their application to research and innovation in digital music. This involves using empirical and computational methods to understand different modalities of experience, interaction, and control between the digital music “user” (listeners, performers, producers) and sound as a multimodal semiotic system. My research has received funding from the Austrian Science Fund, British Academy and QMUL’s Centre for Public Engagement. Scholarly contributions include co-editing the scientific volumes Timbre: Acoustics, Perception, & Cognition (2019), the first dedicated to a comprehensive and authoritative presentation of the state of the art in research on this foundational aspect of hearing, and Musical Haptics (2018), an original interdisciplinary overview of the role of haptic feedback in musical practice and interaction.

I am an associate member of the Music Cognition Lab and the Cognitive Science Research Group, and deputy director of the DAME CDT. I organise monthly seminars on Perception, Cognition, & Aesthetics (PCA) of music and audio, and coordinate a Special Interest Group in Neural Audio Synthesis (SIGNAS) where we discuss topics at the intersection of sound perception, synthesis, and deep learning. I am active in the SIG for Communication and Room Acoustics of the EPSRC funded UK Acoustics Network and an external collaborator of the Analysis, Creation, and Teaching of ORchestration (ACTOR) international partnership led by Prof Stephen McAdams at McGill University. 

I am a member of the EECS Equalities Committee and the Understanding and Celebrating Race and Ethnicity working group of the QMUL Racial Equality Action Group.



Interactive Digital Multimedia Techniques (Postgraduate)

This is a Master's level course in developing real-time interactive digital media systems. The course will focus on graphics and sound programming, with a secondary emphasis on basic electronic hardware design for sensors and human-computer interfaces. The course will employ widely-used development environments including Arduino, Processing Max/MSP and Jitter, Processing. Course material will be delivered through a combination of lectures, interactive lab sessions, and individual/group exercises (both in and out of class). Generally speaking, each class period will consist of a combination of lecture and interactive lab session.

Professional and Research Practice (Undergraduate)

This module provides you with the opportunity to examine the role of engineering in society and the expectations of society for a professional engineer. During the module, you should develop and achieve a level of written and spoken communication expected of a professional engineer. You will also construct a personal development plan (PDP) and an on-going employability skills folder. The assessment of the module is 100 per cent coursework, broken down as follows: oral presentation: 25 per cent; in-class essay: 25 per cent; PDP folder: 25 per cent; employability folder: 25 per cent. Not open to Associate Students or students from other departments.

Signals and Information (Undergraduate)

This first year module introduces the fundamentals of signals, Fourier Series, information theory and signal statistics. Topics covered include: signal fundamentals such as discrete versus continuous time signals; signal average, energy and power; orthogonality; Fourier Series. The module also provides an introduction to information theory, including the information measure, entropy and the binary symmetric channel. Basic ideas in statistics will also be introduced. It will be taught by a combination of lectures, tutorials and labs.


Research Interests:

  • Perception, cognition, & aesthetics of sound
  • Crossmodal and multisensory perception involving sound
  • Enabling digital music research with an understanding of how we hear
  • Modelling human values (& biases) with digital music data
  • Physical and web tools for education, outreach, & research in auditory perception

PhD students:

Primary supervisor

  • Luca Marinelli: Gender-coded sound: A multimodal data-driven analysis of gender encoding strategies in sound and music for advertising (09/2020–current)
  • Ben Hayes: Perceptually Motivated Deep Learning Approaches to Creative Sound Synthesis (09/2020–current, co-supervised with George Fazekas)
  • Vjosa Preniqi: Predicting psychological traits from digital media behaviours (01/2021–current, co-supervised with Kyriaki Kalimeri)
  • Bleiz Del Sette: The Sound of Care: researching the use of deep learning and sonification for the daily support of people with chronic pain (starting 09/2021)
  • Remi Falowo: E-AIM: Embodied Cognition in Intelligent Musical Emotion Systems (starting 09/2021)

Active second supervisor

  • Cyrus Vahidi: Psychoacoustics in Generative Audio Modelling (09/2019–current)
  • Alejandro Delgado: Drum Sound Query by Vocal Percussion (10/2018–current)


I'm pleased to be working with some great people across different research fields. This includes researchers in my home group the Centre for Digital Music, plus QMUL colleague Martin Benning (Mathematics). Outside QMUL, collaborators include Christine Cuskley (Newcastle, UK), Kyriaki Kalimeri (Fondazione ISI, Turin, Italy), Kai Siedenburg (Oldenburg, Germany), and Zachary Wallmark (Oregon, USA).