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. The use of audio sequencers such as Ableton Live or Reaper will serve as teaching tools.

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

  • Good command of patching in Max and its environment: regular practice 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.
    Important: Using Max for Live devices does not constitute mastery of Max, even partial.
  • Have a solid understanding of the computing environment, enabling autonomous use of the working environment.
  • Have a good understanding of technical English vocabulary and terms used in common audio software.
  • Have experience with an audio sequencer (such as Ableton Live, Reaper, Pro Tools, Logic Pro, etc.) for questions related to automation and workflow (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).

In 2026, according to end-of-training evaluations, 83% of participants in the “Sound Spatialization” course fully or largely achieved the set objectives, with a satisfaction rate of 100%

Marc

Sound engineer, sound designer

"Thank you very much for this very interesting course, especially the study of panning and reverberation algorithms (at the heart of Spat) seen and experienced in depth with Max /MSP. It was also a rare opportunity to listen to works on a system made up of 24 loudspeakers."

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