Workshops for advanced users: Immersive sound pt. 1

Spat and microsound

  • 13 - 17 November
  • Spat with Thibaut Carpentier from IRCAM
  • 12 - 14 December
  • Microsound with Curtis Roads
  • Where
  • Notam, Sandakerveien 23D, bygg F3, OSLO
  • Producers
  • Bergen center for electronic art and Notam
  • Supported by
  • Arts Council Norway

Notam and BEK will arrange a series of workshops intended for advanced users from 2017 to 2020. The workshops will be technical in nature, and the participants are therefore required to possess basic skills in programming (especially in Max) and signal processing. The workshops will be held in English, and will be arranged alternately in Oslo and Bergen. There is a limited amount of seats and highly qualified participants will therefore be prioritized.


December 12th – 14th, 11:00 – 16:00
Sted: Notam in Oslo
Price: 3000,- NOK for all academic employees in 50% positions or more, free for all others.
Curtis Roads is a pioneer in the field of microsound, a specialist in granular synthesis, a composer, author and programmer. He is a professor of media arts and technology at the university of California, Santa Barbara. The workshop will contain a mix of lectures and practical work in the studio. A more detailed program will be available soon. Roads is also playing a concert on December 12th! Production is in cooperation with Kunstnerenes hus and Ny Musikk.
The course is fully booked.

When the new instruments allow me to write music as I conceive it, taking the place of linear counterpoint, the movement of sound masses, of shifting planes, will be clearly perceived. When these sound masses collide, the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles. There will no longer be the old conception of melody or interplay of melodies. The entire work will be a melodic totality. The entire work will flow as a river flows. – Edgard Varèse (1924)

November 13th – 17th, 9:30 – 16:00
Sted: Notam in Oslo
Price: 5000,- NOK for all academic employees in 50% positions or more, free for all others.
Thibaut Carpentier is one of the main developers behind Spat, a toolkit for sound spatialization in Max. The workshop will contain a mix of practical work, guidance and lectures.

Day 1: theoretical background on spatial/immersive audio; introduction to the Spat “philosophy”
Day 1 and 2: (hands-on) introduction to the Spat framework; basic panning examples
Day 2 and 3: reverberation, sound radiation; more advanced examples
Day 3: focus on Ambisonics and/or binaural techniques (applications to head-tracking, VR, etc.)
Day 4: highlight on Panoramix (1), a new derivative of Spat, which focuses on mixing and post-production
Day 4: presentation of recent work on spatial audio at Ircam (research projects and artistic productions)
Day 5: authoring tools for spatial sound (automation, digital audio workstations, algorithmic composition, remote control, integration within OpenMusic (2), object-based audio, etc.)
The course is fully booked

Bio: Thibaut Carpentier is an R&D engineer at IRCAM (Institut de Recherche et de Coordination Acoustique/Musique), Paris.
After studying acoustics at the Ecole Centrale and signal processing at the ENST Telecom Paris, he joined CNRS (French National Centre for Scientific Research) and the Acoustics & Cognition Research Group in 2008.
His research is focused on spatial audio, room acoustics, artificial reverberation, analysis/synthesis of sound fields and compositional tools for spatial sound.
In recent years, he has been responsible for the development of Ircam Spat and he contributed to the conception and implementation of a 350-loudspeaker array
for holophonic sound reproduction in Ircam’s concert hall.
Besides his research activities, he has been involved in numerous creative projects, as computer music designer, sound engineer or scientific consultant for several multimedia artists and ensembles.

Background on the workshop series
Notam and BEK are centers for innovation and use of technology in music and the arts in Norway. We have a wide international network which includes leading figures within music technology, sound design and audiovisual technology. Both Notam and BEK have education as a core focus, and strive to establish new goals and provide new impulses for current music technologists and artists. The series of workshops will progress with subjects such as Ambisonics, wave-field synthesis, advanced microphone techniques, headphones and immersive sound, Jitter, Gen, HISS tools, Gen and Owl, machine learning and filter design.

About IRCAM Spat:
Spat is a real-time spatial audio processor that allows composers, sound artists, performers, and sound engineers to control the localization of sound sources in 3D auditory spaces. In addition, Spat provides a powerful reverberation engine that can be applied to real and virtual auditory spaces.
The processor receives sounds from instrumental or synthetic sources, adds spatialization effects in real-time, and outputs signals for reproduction on an electroacoustic system (loudspeakers or headphones).
Its modular signal processing architecture and design are guided by computational efficiency and configurability considerations. This allows, in particular, straightforward adaptation to various multichannel output formats and reproduction setups, over loudspeakers or headphones, while the control interface provides direct access to perceptually relevant parameters for specifying distance and reverberation effects, irrespective of the chosen reproduction format.
Another original feature of Spat is its room effect control interface relying on perceptive criteria. This allows the user to intuitively specify the characteristics of a specific room without having to use an acoustic or architectural vocabulary.

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About microsound:
Below the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music—notes and their intervals—into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds. Composers have used theories of microsound in computer music since the 1950s. Distinguished practitioners include Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased interest in computer and electronic music, many young composers and software synthesis developers are exploring its advantages.

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