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    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…

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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.

    • The IRCAM Forum
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  • Max for Live








April 3 through Sat 8 April 2023,
10 a.m.- 5:30 p.m.
Ircam
salle Nono
Language

French

Level

Beginner

Prices

1500 €

practical information

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Reserve

Transmission
Software Training






Max for Live

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Learn to use Max via Ableton Live
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Max for Live is an optional module integrated in Ableton Live. Max includes object that mimic the graphical interfaces of effects or devices in Live. These objects let users include their own devices or instruments in a Live session taking into account the parameters of the effects in the application’s automation.

Objectives

Upon completion of this course participants will have the skills necessary to create new effects and devices in Live with Max for Live: creation of a synthesizer, creation of audio effects. Participants will be able to control Live’s graphical interface using Max for Live.

Public

Composers, musicians, theater managers, etc.

Prerequisites

Basic knowledge of Ableton Live on MacOS or Windows: notions of track, scene, manipulation of MIDI and audio clips, manipulation of automation in clips, etc.

Educational Resources and Techniques

Classroom equipped with computers with all the necessary software installed, headphones, and MIDI keyboards.
Class Format: Training alternates between presentations, explanations on theory, studying examples to analyze, and hands-on exercises.
Didactic Materials: Video-projected presentations.

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;
Assessment of acquired knowledge using a multiple-choice test (1 hour) 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.

Training Period and Organization

36 hours of training, Monday-Saturday, April 3-8, 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 and the certification test will be cancelled. For further information, please contact: info-pedagogie (at) ircam.fr.

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Program

Monday

MorningInstallation and set-up of Live for Max for Live;
Study of different types of devices for Max for Live: MIDI, audio, instrument;
Order of execution of a patch;
Introduction of a “trigger” object to define the order of execution;
Using good habits with live.gui objects.
AfternoonCreation of MIDI effects: transposing notes;
The ddg.mono object;
The flush object;
Use of the "parameter" window.

Tuesday

Morning

Processing lists with <zl> objects
Creating sub-patches with the <patcher> object
Creation of a MIDI effect: random note generator

AfternoonSynchronization of a device with Live
Realization of a step by step sequencer with the <live.grid> object

Wednesday

MorningAudio in Max;
Basics of subtractive synthesis: oscillator, filter, ADSR envelope;
Creation of a monophonic synthesizer with the aforementioned elements.
AfternoonThe <poly~> object;
Automatic management of polyphony with <thispoly~>;
Creation of a polyphonic synthesizer with the aforementioned instrument.

Thursday

MorningDelay in Max : <tapin~> and <tapout~>
Creating of audio effects: delay lines
Adding frequency shift and feedback
Afternoon

Envelope and synthesis follower
Recording and slowed playback of a sound file

Friday

MorningControl of Live’s graphical interface: <live.path>, <live.object>, <live.observer>, <live.remote~>
Realization of simple tasks with a combination of the aforementioned objects
AfternoonUse of abstractions provided with Max for Live
Use of the name of a Live clip to modify the function of an effect

Saturday

MorningReview of the notions seen during the week
Question and answer session on students’ ideas/project that can make use of Max for Live
AfternoonFree work on computers
Assessment of acquired knowledge using a multiple-choice test (1 hour)
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Monday through Friday 9:30am-7pm Closed Saturday and Sunday
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