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Takuto Yudasaka is a musical instrument researcher at Yamaha that recently held residence in Montreal for integral research for acoustic engineering. Takuto worked with the Computational Acoustic Modeling Laboratory (CAML) and the Center for Interdisciplinary Research in Music Media and Technology (CIRMMT) at the Schulich School of Music.聽聽

Gary Scavone, Chair of the Department of Music Research and Director of CAML worked closely with Takuto during his residency. He shared: 鈥淚t has been a pleasure to have Takuto working in our lab, as he has allowed the students to get an industrial perspective on their research while offering him an opportunity to immerse himself in a multi-disciplinary academic environment.鈥澛犅�

Takuto鈥檚 research focuses on what musicians explicitly need from instruments. For example, while in Montreal, he collaborated with Satoshi Yamaguchi to create a new drum system, VXD, that uses voice control to trigger a bass drum. A large amount of Takuto鈥檚 progress is a result of direct collaboration and discussion with other musicians and acoustic researchers.聽

In this In Conversation, Takuto discusses his time working with CAML and CIRMMT, his role at Yamaha, advice to future researchers, and his upcoming projects and plans.聽

How has working with CAML and CIRMMT at 麻豆传媒网站 impacted your research in terms of your methods, collaborations, or outcomes?聽

As a Visiting Scholar sent by Yamaha, my time at 麻豆传媒网站 has had a profound impact on both my exploration and deepening of knowledge.聽

For over ten years, I have been involved in the research and development of musical instruments at Yamaha鈥檚 headquarters in Japan. During this time, the business environment has changed significantly. Many companies are now actively seeking collaboration to explore new technologies and ideas. However, the essential value of musical instruments has remained the same. I have always asked myself, 鈥淲hat kind of instrument truly meets the needs of musicians?鈥� In pursuit of both the exploration of new knowledge and the deepening of existing expertise, I moved to Montreal and began joint research with CAML and CIRMMT.聽

At CAML, Professor Gary Scavone and his team bring diverse perspectives and deep expertise in musical acoustics. Our discussions were extremely helpful in every stage of measuring, simulating, and analyzing electric guitars. As a result, we were able to identify the causes of issues like 鈥渂eating鈥� and 鈥渄ead spots鈥� that guitarists often dislike. I believe these insights will directly contribute to the design of future Yamaha products.聽

Meanwhile, CIRMMT provided the perfect environment for exploring new ideas. It offered opportunities to engage with music research not only from Montreal but from around the world. In this setting, I experienced how academia, industry, and government work together to support digital art culture. I also gained a better understanding of how technology can be applied in emerging music markets. Moreover, I was able to build new connections with researchers at CIRMMT, which may lead to future collaborations with Yamaha.聽

Overall, my experience at 麻豆传媒网站 has expanded my research approach, led to practical outcomes for product development, and helped build international partnerships.聽

How has this experience shaped you as both a musician and a researcher?聽

Before moving to Montreal, I had already been researching the physical behaviour of electric guitars. The results of that research were applied to the series, which was released in 2024.聽

On the other hand, during my term in Montreal, I was asked to take on a new challenge: 鈥渆xploring knowledge.鈥� This is an initiative to pose new questions and explore possibilities through discussions with researchers around the world in areas where there are still no clear answers. Although I sometimes felt confused by differences in culture, language, and research styles, it was also a very stimulating and valuable experience.聽

What impressed me most was the attitude of the researchers at CIRMMT. They all shared a deep passion for music and valued open discussions across different fields and roles. I joined many conversations about how music technology research can benefit society, bringing in Yamaha鈥檚 perspective. Through these discussions, I gained not only new connections, but also the skills and mindset needed to turn those connections into real collaborations. This experience greatly expanded my perspective as a researcher and gave me the next step in my career at Yamaha.聽

Another important point was the role of music itself in building relationships. Through jam sessions using musical instruments, we were able to naturally break down barriers of language and culture and build trusting relationships. I was reminded that music, like English or programming languages, is a universal form of communication. With the help of music鈥攁nd with a desire to give back to it鈥擨 hope to continue contributing to the world of music.聽

What aspects of your role at Yamaha do you find most rewarding, particularly in the context of your recent research findings?聽

Like many engineers at Yamaha, I find the most satisfaction in my work when it contributes to music. However, achieving that is never easy. Behind the scenes lies Yamaha鈥檚 complex product development process:聽

• In the 鈥痳esearch stage, my role is to solve problems in current products and develop new technologies that create added value.聽聽

• After that, the鈥� planning,鈥� design, and 鈥�verification鈥� stages are handled by specialized departments.聽

• In the 鈥痯lanning stage, new products are envisioned based on our research results and market needs. Some products are entirely new proposals born from research, while others are follow-up models driven by user needs.聽

• In the鈥� design stage, drawings and source code are created based on the plan. For acoustic instruments, a single designer may complete the work, but for electronic instruments or mixing consoles, large teams of dozens may be involved.聽

• The 鈥�testing stage鈥�聽is where we thoroughly validate whether the prototype works as intended. This includes not only sound quality and playability, but also safety of electronic parts, software stability, mass production feasibility, and durability during shipping. This stage often takes much longer than the design phase.聽

Research in industry presents different challenges than academic research. No matter how innovative a technology is, it won鈥檛 be adopted unless it meets market needs. There may be conflicts with other features during design, or unexpected issues during testing. Overcoming these hurdles and seeing my research become part of a product鈥攕omething that reaches customers and produces music鈥攊s an unmatched joy.聽

In 2024, the electric guitars from Yamaha鈥檚 Pacifica Professional and Pacifica Standard Plus series featured a new pickup technology I developed. During testing, when a guitarist played a lively rhythm so infectious it made me want to dance while using the funk strumming technique, I felt that all my efforts had paid off.聽

Where do you see yourself after your work in Montreal comes to a close?聽

In September 2025, I will complete my nearly two-year assignment abroad and return to Yamaha鈥檚 headquarters in Japan. During this time, I gained valuable insights into music technology and musical expression through collaborative projects with research institutions such as CAML and CIRMMT. Building on these experiences, I plan to focus on the following three themes after my return:聽

First, I want to apply the outcomes of my joint research with CAML and CIRMMT to product development. One of the most significant achievements was acquiring new technologies that have the potential to further improve the sound quality of electric guitars. By incorporating this technology into the next generation of products, I hope to support musicians in their creative work and performances and ultimately contribute to music itself.聽

Second, I aim to use the diverse ideas and international network I developed at CIRMMT to develop entirely new product lines and services. I was especially inspired by the culture of using technology as a tool for artistic expression. By bringing this approach into Yamaha鈥檚 offerings, I hope to enable more diverse forms of expression and provide new value that supports the creativity of artists and creators.聽

Finally, I would like to serve as a bridge between academia and Yamaha, helping to promote collaboration between the two. While universities and research institutions produce excellent research, turning those results into products is not easy. There is often a gap between research and practical use. To bridge that gap, we need technical communicators who understand both sides and can move projects forward smoothly. I hope to take on that role and help connect academic knowledge with industry needs, creating sustainable and mutually beneficial collaborations.聽

What advice would you offer to aspiring researchers considering opportunities abroad, especially in the field of music technology?聽

Conducting research in the field of music technology at an overseas institution is not only a way to deepen your expertise鈥攊t is also a valuable opportunity to build an international network that is essential for your future career. To make the most of this experience, it is important to carefully choose both your research field and your destination.聽

When selecting a field, start by clarifying your interests and strengths. Ask yourself, 鈥淲hich aspect of music do I want to contribute to?鈥� Whether it鈥檚 developing new instruments, creating tools to support composition, or innovating music education, defining a clear target is the first step. Music technology is an interdisciplinary field, but rather than trying to cover everything on your own, it is more effective to collaborate with researchers who each bring deep expertise in specific areas. That鈥檚 why it鈥檚 important to first establish your own specialization.聽

Next, choose a research environment that will help you grow in that specialization. Reading conference proceedings and attending presentations at international academic events can help you identify institutions that align with your interests. Ideally, you should look for places where interdisciplinary researchers gather and active collaboration is encouraged. 麻豆传媒网站 and CIRMMT are excellent examples of such environments, and I can confidently recommend them.聽

If you already have a certain level of expertise, you might also consider applying for Yamaha鈥檚 , which is run at the company鈥檚 office in Japan. It offers a valuable opportunity to learn about the industrial applications of music technology. If you are interested in exploring the possibility of joint research based on your own work, I would be happy to discuss it with you. Let鈥檚 work together to make waves with music!聽