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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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  • Initiation to sound spatialization








February 7 through Fri 10 February 2023,
10 a.m.- 5:30 p.m.
Ircam
salle Nono
Language

French

Level

Beginner

Prices

1000 €

practical information

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Transmission
Software Training






Initiation to sound spatialization

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Discover and master the basics of IRCAM’s Spatialisator
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The Spatialisator is a software dedicated to real-time spatialization processing of sound signals in the contexts of musical creation, post-production, and live concert situations. During this program participants discover spatialization techniques first without and then with the Spatializer.

Objectives

Upon completion of the program, participants will have acquired a foundation of the perception of space and the various spatialization techniques. They will be able to build, in Max, their own spatialization modules and control them in real-time or off-line, using a range of writing and control methods. They will master the basics of the Spatialisateur.

Public

Composers, musicians, sound engineers, teachers, etc.

Prerequisites

Participants must be able to justify a good knowledge of Max and its environment: completion of the basic Max tutorials (Basic tutorials 1 to 22, Data tutorials 1 to 5, MIDI tutorials 1 to 5 and Max tutorials 1 to 18 ) or to have followed the Max Initiation course
Possess a good knowledge of technical English vocabulary and terms used in common audio software.
A good knowledge of an audio sequencer (Protools, Logic Pro, Reaper...) is also recommended.

Educational Resources and Techniques

Classroom  equipped with computers iMac with all the necessary software installed, headphones, and MIDI keyboards
Class Format: Training alternates explanations on theory and hands-on exercises

Didactic Materials: Video-projected presentations and documents

Supervision and Assessment

Welcome the first day of training beginning at 9:45am;
Attendance controlled; signature of an attendance sheet required every morning and afternoon;Attendance controlled; signature of an attendance sheet required every morning and afternoon
Assessment: evaluation of projects carried out throughout the program
A certificate at the end of the program is given to each participant with the results of the exam

Training Period and Organization

24 hours of training. Tuesday-Friday, February 7-10, 2023. 10am-1pm/2:30pm-5:30pm
10 students maximum

This training program will be held at IRCAM on-site in accordance with local sanitary guidelines and measures in place at the current time. These guidelines and measures may change. In the event that IRCAM cannot physically welcome students for a program that requires face-to-face instruction, the program will be cancelled.

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Program

Tuesday

Morning

Introduction to the theory of spatial listening and the general principles of spatialization
Listening to important pieces in the history of spatialized music
Reminder of the notions to know in Max to be able to use Spat

Afternoon

Learning to spatialize using Max standard objects
Spatialization by envelopes
Production of a stereo panpot

Wednesday

MorningCreation of a quadraphonic sound
Creation of a reverberation
Afternoon

Introduction to the basic concepts and features of the Spatialisateur in Max
Study of the internal structure of Spat
Room simulations: Spat reverberation parameters

Thursday

MorningAnalysis and hands-on work on some typical configurations: broadcasting on 4, 8 speakers, with different panning techniques (vbap, binaural, 5.1, etc.)
Parameter memorization: creation of presets
Writing of elementary trajectories with messages
Afternoon

External source controllers (iPad, joystick, sequencers)
Use of the Oscar plugin to control Spat via OSC and DAW automation
Integration of Spat5 in Max For Live; Overview of Flux Ircam-Tools and Spat Revolution plugins

Friday

MorningIntroduction to other spatialization methods: WFS, High Order Ambisonics (HOA)
Preparation of patches, including several spatialization techniques studied throughout the week (Envelopes, Vbap, HOA) for Studio 1 (24 speakers)
Afternoon

Listening sessions in Studio 1
Presentation by an IRCAM sound engineer

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Monday through Friday 9:30am-7pm Closed Saturday and Sunday
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