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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
    • 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 Using Max








April 13 through Fri 17 April 2026,
10 a.m.- 5:30 p.m.
Ircam
salle Nono
Language

French

Level

Beginner

Prices

Full rate : 1375 €
Forum Premium Member : 965 €
Student : 690 €

Practical Information

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Reserve

Transmission
Software Training






Initiation to Sound Spatialization Using Max

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Discover spatialization and master the basics of IRCAM’s Spatialisator
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The Spatialisator is software dedicated to spatialization processing of sound signals in Max in the contexts of musical creation, post-production, and live concert situations.
During this course, participants discover spatialization techniques with and without 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, engineers, sound engineers, teachers, artists, creators...

Prerequisites

  • Participants must be able to justify a good knowledge of Max and its environment: completion and understanding of the basic Max tutorials (Max Basisc tutorials 1 à 11, 14 à 22, Max Data tutorials 1 et 2, MSP tutorials, MSP Basics tutorials 1 à 5, MSP Panning tutorials 1 à 3, MSP Analysis tutorials 1 à 2, MSP Delay tutorials 1 à 3 et 6) 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 de how to use of an audio sequencer (Ableton Live, Reaper, Protools, Logic Pro...) is also recommended (automations).
  • 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

30 hours of training. Monday-Friday, April 13-17, 2026. 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.

Edit

Program

This is not a training course on Ableton Live, Reaper and Max software.
Some details of the training program are subject to revision as the software on which it is based evolves.

Monday

MorningIntroduction 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 follow the course.
Afternoon

Learning to spatialize using Max standard objects.
Stereo spatialization using different transfer functions.
Stereo spatialization using delays.
Creation of a quadraphonic sound.

Tuesday

MorningCreation of a spatialization patch capable of simulating the acoustic effects that occur based on distance.
Creation of a Schroeder reverberation.
AfternoonCreation of reverb based on Feedback Delay Networks.
Introduction to the basic concepts and features of the Spatialisateur in Max.

Wednesday

MorningStudy of the internal structure of Spat.
Room simulations: Spat reverberation parameters.
Familiarisation with spatializer library and hands-on work on some typical configurations: broadcasting on 4, 8 speakers, with dif-ferent panning techniques (vbap, binaural, 5.1, etc.).
Parameter memorization: creation of presets/snapshots.
Writing of elementary trajectories with messages.
Afternoon

Introduction to spatialization techniques using amplitude panning and acoustic field reconstruction (HOA and WFS).
Implementation of a workflow between a DAW (a Reaper or Live session) and the spatializer in Max via the OSCar plugin and a vir-tual sound card (Blackhole).
Integration of a binauralization module.

Thursday

MorningSound recording (outdoor and indoor) in small groups to identify the constraints imposed on a spatialization project during record-ing.
Preparation of a small sound scene in a DAW (a Reaper or Live session).
AfternoonWriting spatialization from a DAW session using the Oscar plugin to drive Spat and/or Panoramix via OSC and DAW automation.

Friday

MorningSummary and review of fundamental concepts covered.
Analytical listening to different spatialization techniques (amplitude panning and HOA) in a multichannel studio (24/26 speakers).
Methodology and strategies for a spatialized project.
Evaluation and corrections.
AfternoonListening sessions in Studio.
Presentation by an IRCAM sound engineer.

Educational Resources and Techniques

  • Classroom equipped with computers iMac combined with small MIDI keyboards/controllers.
  • Class Format: Training alternates explanations on theory and hands-on exercises.
  • Didactic Materials: Video-projected presentations and documents.

The Max, Ableton Live, Reaper, Panoramix and the Spat librairy environments are not included in the course fee.


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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