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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
    • Sound Perception and Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Finished Projects
  • 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
    • Mauro Lanza in studio
    • Chloé Thévenin in studio
    • Oren Boneh in studio
    • Tristan Murail in studio
    • Martin Matalon in studio
    • Sébastien Gaxie in studio
    • Murcof in the studio
    • Vimala Pons in studio
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 24.25
    • 2024-2025
    • Replay Concerts
    • Seasons from 1996 to present
    • ManiFeste-2024 Website
    • ManiFeste festival from 2012 to 2024
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In support of IRCAM's research and creation missions, the educational program seeks to shed light on the current and future meaning of the interactions among the arts, sciences, and technology as well as sharing its models of knowledge, know-how, and innovations with the widest possible audience.

    • Training Courses
    • Training Courses 2025.26
    • Max, Max for Live
    • Computer-Assisted Composition
    • ASAP & Partiels
    • Sound spatialization
    • Generative AI
    • Practical Information
    • Higher Education
    • Cursus Program on Composition and Computer Music
    • Master ATIAM
    • Sound Design Master's Program
    • Mixed-Music
    • AIMove Master
    • Discover Research at IRCAM
    • Cultural Outreach
    • Cultural Mediation at Middle School Students
    • Médiations culturelles au lycée
    • Digital Workshops
    • TACT
    • Images of a Work Collection
    • Group Tours
    • ManiFeste-2025 Festival Academy
    • 2025 ÉLAN award
    • Spatial Composition Workshop
    • In Situ Polytopes
    • ULYSSES Ensemble
    • Auditors
  • Innovations

    Engaged with societal and economic issues at the intersection of culture and IT, research at Ircam has forged a reputation for itself in the world of international research as an interdisciplinary benchmark in the science and technology of sound and music, constantly attentive to the new needs and uses in society.

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  • Initiation to sound spatialization








February 6 through Fri 9 February 2024,
10 a.m.- 5:30 p.m.
Ircam
salle Nono
Language

French

Level

Beginner

Prices

Full price : 1000 €
Premium Forum member : 700 €
Student Price : 500 €

practical information

Edit
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
  • Mastery of the basic functions of a Macintosh computer (use of a keyboard and mouse, create and manage files and folders, use menus, launch an application)

Training Period and Organization

24 hours of training. Tuesday-Friday, February 6-9, 2024, 2024. 10am-1pm/2:30pm-5:30pm
10 students maximum

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


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

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

Assessment

  • Evaluation of projects carried out throughout the program and assessment of knowledge in the form of a multiple choice question

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