IRCAM (Institut de recherche et coordination acoustique/musique)

Computer Music Designer in charge of teaching:

Max Initiation  / Max certification level 1 (session 1) / Max Initiation  / Max certification level  1 (session 2)

  • MAX types of objects, types of data
  • Data flow, order of execution
  • MIDI in MAX
  • Advanced data manipulations: lists, <zl>, encapsulation
  • Stochastic processes
  • Audio signals in MAX
  • Development of monophonic synthesizers
  • Recording, playback of sounds 
  • Simple audio processing: ring modulation, amplitude modulation, delay lines effects (echo, chorus, flanging)
  • Pitch-shifting with delay lines
  • Audio analysis: amplitude, pitch
  • Basics of a patch architecture

Max Advanced / Max certification level 2

  • Generalized development architecture
  • Multi-channel architecture implementation
  • Polyphony and its poly-procedural generalization
  • Management of audio streams by matrixing
  • Processing in the frequency domain using the discrete short-time Fourier transform (STFT)
  • Low-level development in Max: gen~
  • Sound synthesis by physical model

Cursus Program on Composition and Computer Music

MAX II - 3: Introduction to the Fourier transform

  • - Fourier Series
  • - Fourier Transform
  • - Discrete Fourier Transform (DFT)
  • - Fast Fourier Transform (FFT)
  • - What are the outputs of the FFT?
  • - Short-time Fourier transform (STFT), overlap-add
  • - FFT in practice: <pfft~>
  • - Filtering with FFT
  • - Cross-synthesis & Convolution
  • - The Phase! Visualising it + messing with it
  • - Implementation of a spectral delay

MAX II - 4: Introduction to gen~

  • - What is gen~?
  • - Differences with traditional MAX patching
  • - Fundamental operators
  • - A couple useful patches: playing a buffer, generating triggers, generating random numbers, generating a ramp
  • - Designing filters from scratch: 1-pole LP, 1-pole HP
  • - Karplus Strong synthesis in Gen~
  • - KS instances in parallel: use of <mc.gen~>

MAX II - 5&6: Design of a modal synthesis environment

  • - Small recap on modal synthesis. Similarities with additive synthesis
  • - SVF filter design in Gen~: choosing the right filter, coding it in <codebox>
  • - Filter as a resonator: pinging the filter with a noise burst or an impulse
  • - Creating spectra with a bank of resonators: use of mc.gen~
  • - The problem of control. Manipulating spectral data: <coll> and lists management
  • - Additional MC manipulations
  • - Polyphony: use of <mcs.poly~>
  • - Parametrization, user interface

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