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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2022.23
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

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  • Introduction to Sound Spatialization








December 4 through Thu 6 December 2018,
10 a.m.- 5:30 p.m.
Ircam
salle Nono
Language

French

Level

Beginner

Prices

750 €

          Practical Information          

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Transmission
Software Training






Introduction to Sound Spatialization

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Discover and master the basics of IRCAM’s Spatialisateur
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The Spatialisateur is a software package to spatialize sound signals in real-time in the context of musical creation, post production, and concert situations.

Objectives

Upon completion of this course, participants will acquire the foundations of the perception of space and different spatialization techniques. They will be able to construct their own spatialization modules in Max and control them in real-time or off line via different writing methods. Participants will master the bases of Spatialisateur

Public

Composers, musicians, sound engineers, teachers, etc.

Prerequisites


Participants must be able to attest to sufficient knowledge and skills in Max and its environment: completion of the basic Max tutorials (Basic tutorials 1-22, Data tutorials 1-5, MIDI tutorials 1-5, and MSP tutorials 1-18 of Max) or have successfully completed the course Max Initiation;
Participants must have good knowledge of technical English vocabulary used in usual audio software.

Mastery of an audio sequencer is also recommended: Pro Tools, Logic, Cubase, etc.

Assessment

Assessment of acquired knowledge using a multiple-choice test (30 minutes) taken at the end of training
A certificate at the end of the program is given to each participant with the results of the exam.

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Program

Thursday

MorningIntroduction to spatial listening and spatialization;
Learn to spatialize sound with standard Max tools.
AfternoonIntroduction to the basic concepts and functions of Spat;
Study of the internal structure of Spat;
A look at a selection of typical configurations: diffusion of an orchestra using 4 or 8 loudspeakers with different panning techniques: vbap, binaural, 5.1, ambisonics, etc.

Wednesday

MorningSimulations of concert halls and saving configurations;
Introduction to controlling Spat: writing and memorizing basic trajectories;
Hands-on exercises.
AfternoonIntroduction to tools for spatialized writing and external controllers (sequencer, sensors);
Demonstration of the Ircam-Tools plugins for spatialization  (Flux);
Hands-on exercises for writing spatialization.

Tuesday

MorningIntroduction to other methods of spatialization: WFS, HOA;
Presentation by an IRCAM sound engineer;
Case study based on different creations.
AfternoonListening sessions and hands-on exercises in the studio;
Students are invited to bring their sound elements to spatialize.
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