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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
    • Subscribe to the Forum
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Acoustic and Cognitive Spaces

Edit






The Acoustic and Cognitive Spaces activity of research and development centers on the reproduction, the analysis/synthesis, and the perception of sound spaces.
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The team’s scientific disciplines are signal processing and acoustics for the elaboration of spatialized audio reproduction techniques and methods for the analysis/synthesis of a sound field. In parallel, the team devotes a large percentage of its time to cognitive studies on multisensorial integration for a rational development of new sonic mediations based on body/hearing/space interaction. The scientific activities described below are combined with the development of software libraries. These developments build on the team’s expertise, and its academic and experimental research activities and are the major vector of our relationship with musical creation and other application domains.

The work carried out concerning spatialization techniques are concentrated on models based on a physical formalism of the sound field. The primary objective is the development of a formal framework for the analysis/synthesis of the sound field using spatial room impulse responses (SRIR). The SRIRs are generally measured using spherical arrays featuring several dozen transducers (microphones and/or loudspeakers). The principal application concerns the development of convolution reverberators using these high spatial resolution SRIRs to faithfully reproduce the complexity of a sound field.

The technique of binaural spatialization using headphones is also a focus of our attention. The evolution of listening practices and the democratization of interactive applications tend to favor listening with headphones through smartphones. Taking advantage of this sonic immersion, binaural listening has become the primary vector of tridimensional listening. Based on the exploitation of headrelated transfer functions (HRTFs), it is the only approach that currently ensures a precise and dynamic reconstruction of the perceptual cues responsible for auditory localization. It has become the reference tool for experimental research in connection with spatial cognition in a multisensorial context and for virtual reality applications.

These 3D audio spatialization techniques associated with a tracking system that captures the movements of a performer or a member of the audience, constitute an organologic base essential for addressing questions on “musical, sound, and multimedia interaction”. They offer an opportunity to reflect on the “cognitive foundation” related to the feeling of space, in particular on the coordination necessary among various sensory modalities for the perception and cognition of space. More specifically, we wish to highlight the importance of the processes of integration between idiothetic cues (related to our motor actions) and the acoustic cues (localization, distance, reverberation, etc.) used by the central nervous system to create a spatial representation of the perceived environment.

On the musical level, our ambition is to provide models and tools that enable composers to include sounds in a given space throughout the compositional process: from writing to concert. This contributes to making spatialization a parameter of musical writing. In the arts, this research also applies to post-production, to interactive sound installations, and to dance via the questions related to sound/space/body interaction. The incorporation of sound spatialization in virtual reality environments creates the opportunity for scientific applications to be used in neuroscience research, therapeutic systems, or transportation simulators.

Team Website

Edit
  • Studio 1  © Laurent Ardhuin, UPMC
    Studio 1 © Laurent Ardhuin, UPMC
  • Studio 1  © Philippe Barbosa
    Studio 1 © Philippe Barbosa
  • Studio 1  © Philippe Barbosa
    Studio 1 © Philippe Barbosa
  • © Philippe Barbosa
    © Philippe Barbosa
  • Projet VERVE  © Cyril Fresillon, CNRS
    Projet VERVE © Cyril Fresillon, CNRS
  • Projet VERVE  © Cyril Fresillon, CNRS
    Projet VERVE © Cyril Fresillon, CNRS
  • Studio 1  © Philippe Barbosa
    Studio 1 © Philippe Barbosa
  • L'Espace de projection équipé de la WFS  © Philippe Migeat
    L'Espace de projection équipé de la WFS © Philippe Migeat
  • L'Espace de projection équipé de la WFS  © Philippe Migeat
    L'Espace de projection équipé de la WFS © Philippe Migeat

Collaborations

ARI-ÖAW (Autria),  Bayerischer Rundfunk (Germany), BBC (United Kingdom), B<>COM (France), Ben Gurion University (Israel), Conservatoire national supérieur de musique et de danse de Paris (France), CNES (France),  elehantcandy (Pays-Bas), France Télévisions (France), Fraunhofer ISS (Germany), Hôpital de la Salpêtrière (France), HEGP (France), Hôpital universitaire de Zürich (Germany), IRBA (France), IRT (Germany), L-Acoustics (France), Joanneum Research (Autria), LAM (France), McGill University (Canada), Orange-Labs (France), RWTH (Germany), Radio France (France), RPI (United-States)


Research topics and related projects

3DR3

Room Impulse Response Renderer

Analysis of a Sound Scene through Spherical arrays of Transducers

Auditory spatial cognition

Étude de processus d’intégration multisensorielle

Binaural reproduction technology

WFS and Ambisonic Systems in the Espace de Projection

European and national projects

HAIKUS

Artificial Intelligence applied to augmented acoustic Scenes

Audioself

Contribution of audio and vestibular interactions in the perception of our own body

BiLi

Binaural Listening

Cosima

Collaborative Situated Media

EFFICAC(e)

Extended Frameworks For 'In-Time' Computer-Aided Composition

ENTRECORPS

Study the mechanisms of interpersonal coordination in public human interactions.

Legos

Sensori-motor learning in gesture-based interactive sound systems

ORPHEUS

Object Based Broadcasting

RASPUTIN

Simulation of architectural acoutics for a better spatial understanding using immersive navigation in real-time

Verve

Personalised Virtual Reality Scenarios for Groups at Risk of Social Exclusion

Continuum

Continuum



Software (design and development)

product

SPAT Revolution

Real-time 3D-audio mixing engine, created for audio professionals.
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product

Spat

free
Spat~ is a library dedicated to sound spatialization in realtime. Originally designed as a library, it enables musicians and sound engineers to control the spatial sound processing for various sound broadcasting systems. Applications range from reproducing sound in a home setting to concert situations to holophonic and interactive sound installati…
download
product

ToscA

free
ToscA is a plugin that makes it possible to send and receive the automation parameters of a digital audio workstation towards or from other applications applications using the OSC protocol. Its application typically concerns the production of object-oriented spatialized mixes independently of the host software constraints.
download
product

Panoramix

included in your membership
Panoramix is a post-production workstation for 3D-audio contents. This tool offers a comprehensive environment for mixing, reverberating, and spatializing sound materials from different microphone systems: main tree, spot microphones, Higher Order Ambisonics capture.
subscribemore
product

ADMix Tools

free
The ADMix tool suite can be used for recording (ADMix Recorder) and reproduction (ADMix Renderer) of objectbased audio contents. The object-based format follows the audio definition model (ADM) defined by international standardization bodies (European Broadcast Union and International Telecommunication Union).
download

Team


Head Researcher : Olivier Warusfel
Researchers & Engineers : Markus Noisternig, Thibaut Carpentier, Benoît Alary, Isabelle Viaud-Delmon
Doctoral Student : Anatole Moreau
Trainee : Dorian Vernet
Engineer : Coralie Vincent

Collaborations

ARI-ÖAW (Autria),  Bayerischer Rundfunk (Germany), BBC (United Kingdom), B<>COM (France), Ben Gurion University (Israel), Conservatoire national supérieur de musique et de danse de Paris (France), CNES (France),  elehantcandy (Pays-Bas), France Télévisions (France), Fraunhofer ISS (Germany), Hôpital de la Salpêtrière (France), HEGP (France), Hôpital universitaire de Zürich (Germany), IRBA (France), IRT (Germany), L-Acoustics (France), Joanneum Research (Autria), LAM (France), McGill University (Canada), Orange-Labs (France), RWTH (Germany), Radio France (France), RPI (United-States)


Publications

Also discover

News
Research

Thibaut Carpentier, Laureate of the CNRS 2018 Cristal Medal

Article
L'Unité mixte de recherche Sciences et technologies de la musique et du son a l’immense plaisir de voir récompensé par un Cristal CNRS le travail de Thibaut Carpentier, ingénieur d’études dans l’équi…
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