• 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…

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    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.

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    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.

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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.

    • The IRCAM Forum
    • Softwares
    • Ircam Amplify
    • Innovative art-science-technology processes
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  • Max for Live








May 13 through Sat 18 May 2024,
10 a.m.- 5:30 p.m.
Ircam
salle Nono
Language

French

Level

Beginner

Prices

Full price : 1500 €
Premium Forum member price : 1050 €
Student Price : 750 €

practical information

Edit
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.
  • 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

36 hours of training, Monday-Saturday, May 13-18, 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 and the certification test will be cancelled. 

Edit

Program

Monday

Morning

Installation 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)

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

  • 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

  • Assessment of acquired knowledge using a multiple-choice test (1 hour) taken at the end of training
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75004 Paris
T. +33 1 44 78 48 43
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