Difference between revisions of "Fall Colloq 2011"

From CCRMA Wiki
Jump to: navigation, search
Line 26: Line 26:
 
==10/19 Computing Resources at CCRMA, Mark Applebaum, Andrea Agostini==
 
==10/19 Computing Resources at CCRMA, Mark Applebaum, Andrea Agostini==
  
 +
Technical Topic: We will cover topics related to computing at CCRMA and the user resources available here.  Topics will include email, storage, computing, remote access, guestnet.
  
  
 +
Mark Applebaum is associate professor of composition at Stanford University.  He received his Ph.D. in composition from the University of California, San Diego where he studied with Brian Ferneyhough.  His solo, chamber, choral, orchestral, operatic, and electroacoustic music has been performed throughout the United States, Europe, Africa, and Asia with notable premieres at the Darmstadt sessions.  He has received commissions from the Merce Cunningham Dance Company, the Fromm Foundation, and the Vienna Modern Festival, among others.  Applebaum builds electroacoustic sound-sculptures and is active as a jazz pianist.  His music can be heard on the Innova, Tzadik, Capstone, Everglade, and SEAMUS labels.  See also: www.markapplebaum.com.
  
 
==10/26  Computing Resources at CCRMA, Edgar Berhdal ==
 
==10/26  Computing Resources at CCRMA, Edgar Berhdal ==
  
 +
Technical Topic: We will cover topics related to computing at CCRMA and the user resources available here.  Topics will include email, storage, computing, remote access, guestnet.
  
  
 
+
Edgar Berdahl is a lecturer in the Music Department at Stanford University in California, USA. Prior to receiving his PhD from Stanford, Berdahl earned a BS in Electrical Engineering and Computer Science at UC Berkeley. His research interests include physical modeling, human-computer interaction, robotics, signal processing, and sound synthesis. He seeks to enhance "digital" musical interactions so that they "seem more analog."
  
 
==11/02  Max Lab and Bay Area Prototyping Resources, Drupal, CMS, Craig Sapp and eleanor Selfridge-Field , Ge Wang ==
 
==11/02  Max Lab and Bay Area Prototyping Resources, Drupal, CMS, Craig Sapp and eleanor Selfridge-Field , Ge Wang ==
  
 +
Stanford Product Realization Lab
 +
http://www.stanford.edu/group/prl/prl_site/
  
 +
Students can take a one hour safety training session and then use the lab for a daily or quarterly fee. 
 +
Open for four hour blocks of time throughout the quarter.  Not open during the summer.  Resources include “traditional machining, woodworking, foundry, plastics molding, welding, finishing, and metrology tools. State-of-the-art computer-aided drawing, manufacturing, and prototyping systems are also available.”
  
==11/09  Studios D and E, Digital Mixers, Marina Bosi ==
+
PRL Suppliers list
 +
http://www.stanford.edu/group/prl/prl_site/
 +
Go to the PRL website and click on the “suppliers” link in the upper right corner.  Great list of places to get stuff in the Bay Area.
  
 +
Tech Shop – Menlo Park and San Francisco
 +
http://techshop.ws/
  
 +
Monthly membership and various classes give you access to everything from CNC plasma cutters to industrial sewing machines.  This is sort of like a PRL for non-university folks and they have equipment that the PRL doesn't have.
  
  
 +
McMaster Carr
 +
mcmaster.com
 +
They have almost any piece of hardware you could ever want.  Prices are ok.
 +
 +
 +
TAP Plastics – Mountain View, San Francisco
 +
http://www.tapplastics.com/
 +
Best Local supplier of plastics
 +
 +
 +
Online Metals
 +
http://www.onlinemetals.com/
 +
Great place to get small amounts of metal
 +
 +
Pick N Pull = San Jose, Oakland
 +
http://www.picknpull.com/
 +
Do it yourself junkyard.  Not the cheapest but you can sometimes get good deals.
 +
 +
 +
HSC (Halted) Electronics – Santa Clara
 +
http://www.halted.com/
 +
Good local resource for surplus electronics.  Close to El Camino Mongolian BBQ resturaunt and Central Computers.
 +
 +
Douglas & Sturgess – San Francisco
 +
Supplier of all things sculputral – great supply of silicon and epoxy needs.
 +
 +
 +
 +
The music information lab in the Braun Music Center (#129-130) works
 +
in intersecting areas of
 +
music, music theory, computer science, and cognitive studies. Symbolic
 +
music representation systems
 +
(http://www.ccarh.org/publications/books/beyondmidi) are central to
 +
all of these endeavors.
 +
 +
Specific areas of activity include:
 +
 +
1. Robust encoding, acquisition, and printing systems across platforms
 +
(Score, Finale, Sibelius,
 +
MuseScore, Noteflight, MuseData, OCR, et al: see http://253.ccarh.org)
 +
 +
2. Symbolic music retrieval via the Themefinder database (for low- and
 +
high-precision searches of
 +
encoded music): see http://www.themefinder.org/
 +
 +
3. Music analysis and tool development for the Humdrum Toolkit
 +
(http://humdrum.ccarh.org/)
 +
 +
4. Methods of visualization, such as [WINDOWS-1252?]Sapp’s keyscapes (structural
 +
harmonic analyses): http://
 +
ccrma.stanford.edu/~craig/keyscape/class
 +
 +
5. Data interchange and the re-purposing of musical [WINDOWS-1252?]data—
 +
    MusicXML: http://recordare.com/musicxml/specification/
 +
    MEI: http://www2.lib.virginia.edu/innovation/mei/
 +
 +
We also build aggregations of encoded data for notation and analysis.
 +
Our major collections are these:
 +
 +
1. MuseData: http://www.musedata.org
 +
2. KernScores: http://kern.humdrum.net
 +
 +
Courses offered at CCARH include
 +
 +
1. Music 252 Introduction to Music Notation Software (autumn)
 +
2. Music 253 Introduction to Musical Information (winter)
 +
3. Music 254 Music Query, Analysis, and Style Simulation (spring):
 +
project-oriented course
 +
 +
For an aggregation of all these projects, see the Center for Computer
 +
Assisted Research in the
 +
Humanities: http://www.ccarh.org
 +
 +
 +
Ge Wang is an Assistant Professor at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA), and researches
 +
interactive software systems for computer music, programming languages, social/mobile music, and education at the intersection of computer science
 +
and music.  Ge is the author of the ChucK audio programming language, the founding director of the Stanford Laptop Orchestra (SLOrk), and the
 +
co-founder and director of the Stanford Mobile Phone Orchestra (MoPhO). Ge is also the Co-founder, CTO, and Chief Creative Officer of
 +
Smule, and the designer of the iPhone's Ocarina and the iPad's Magic Piano.
 +
 +
 +
 +
==11/09  Studios D and E, Digital Mixers, Marina Bosi ==
 +
 +
Technical Topic: Hands on instruction and practice using the Yamaha digital mixers available in Studios C, D, E and the CCRMA Stage.  Discussion of the software and hardware tools available in Studios D and E.
 +
 +
Marina Bosi is Consulting Professor in the Music Department at Stanford University and
 +
is also a founding member and director of the Digital Media Project, a non-profit
 +
organization that promotes successful development, deployment, and use of Digital
 +
Media.  Previously, Dr. Bosi was Chief Technology Officer of MPEG LA®, a firm
 +
specializing in the licensing of multimedia technology; VP-Technology, Standards and
 +
Strategies at Digital Theater Systems (DTS); and was part of the research team at Dolby
 +
Laboratories working on AC-2 and AC-3 technology where she also led the MPEG-2
 +
AAC development.  Dr. Bosi has been actively involved in the development of standards
 +
for audio and video coding and for managing digital content, contributing to the work of
 +
ANSI, ATSC, DVD Forum, DVB, ISO/IEC MPEG, SDMI, and SMPTE.   
 +
 +
A past President of the Audio Engineering Society (AES), Dr. Bosi also served the AES
 +
in various capacities including as a member of the Board of Governors and as VP of the
 +
Western Region USA and Canada.  Dr. Bosi is a member the Technical Committee on
 +
Audio and Electroacoustics of the IEEE Signal Processing Society, a senior member of
 +
IEEE, and a member of ASA.  Dr. Bosi received the AES Fellowship Award for her
 +
contributions to the standardization of audio coding, video coding, and secure digital
 +
content.  She received the AES Board of Governors Award twice:  for her co-
 +
chairmanship of the 96th AES Convention and again for her co-chairmanship of the 17th
 +
AES International Conference, the first scientific international conference dedicated to
 +
the topic of high quality audio coding.  Dr. Bosi was the editor of MPEG-2 Advanced
 +
Audio Coding (AAC) for which she received a Certificate of Appreciation from ISO/IEC. 
 +
She also has received several awards for her scholarship from both the French and Italian
 +
governments.  Dr. Bosi holds several patents and publications in the field and is author of
 +
the acclaimed textbook “Introduction to Digital Audio Coding and Standards”
 +
(Kluwer/Springer December 2002) translated into Chinese and Korean.
 
==11/16  IPL/Studio C, Jaroslaw Kapuscinski, Jonathan Abel  ==
 
==11/16  IPL/Studio C, Jaroslaw Kapuscinski, Jonathan Abel  ==
  
Line 49: Line 173:
  
 
==11/30  Events and Concerts, Stage Use, Bruno Ruviaro, Tom Rossing==
 
==11/30  Events and Concerts, Stage Use, Bruno Ruviaro, Tom Rossing==
 +
 +
Technical Topic:  We will go over how to book events and concerts at CCRMA including scheduling, publicity, and gear check-out.  We will also do a hands on demo of the major components of the stage including the mixing board and the lighting board. 
 +
 +
Bruno Ruviaro is a composer originally from São Paulo, Brazil, and has been living in the United States since 2002. He composes both acoustic and electronic music. Recordings of his two most recent pieces ("Intellectual Impropriety 0.6", for laptop orchestra, and "Drei, Dai, Dry", for viola, cello, and percussion), can be heard at <http://www.brunoruviaro.com/ >. Current interests include the study and criticism of intellectual property and musical borrowing in both classical and popular music history. He is currently a Post-Doctoral Scholar and concert organizer at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University.
 +
 +
Thomas D. Rossing (Distinguished Research Professor of Physics Emeritus, Northern Illinois University and Visiting Professor of Music at Stanford University) is the author of over 400 publications, including 18 books, mostly on magnetism and acoustics.  His latest books are the Springer Handbook of Acoustics  and The Science of String Instruments, which is currently in press at Springer.  He is also writing a chapter for the 3rd edition of The Psychology of Music by Diana Deutsch.  He has directed church choirs and handbell choirs, played clarinet in orchestras and chamber ensembles, and appeared as tenor soloist.  He has been a visiting professor at universities in Korea and Scotland as well as in the United States.     
 +
 +
    He is a Fellow of the American Physical Society, The Acoustical Society of America,  the American Association for the Advancement of Science, and IEEE.  He was awarded the Silver Medal in Musical Acoustics and the Gold Medal in Acoustics by the Acoustical Society of America and the Robert Millikan Medal by the American Association of Physics Teachers.  He will receive the Rayleigh Medal from the Mexican Institute of Acoustics in November.  His biography appears in Who’s Who in America and in the New Groves Dictionary of Music and Musicians.
  
 
==12/07  Listening Room, Fernando Lopez-Lezzcano, Julius Smith==
 
==12/07  Listening Room, Fernando Lopez-Lezzcano, Julius Smith==
 +
 +
Technical Topic: Nando will give a tour of the listening room.  Information about the rooms can be found here:
 +
https://ccrma.stanford.edu/wiki/Listening_Room_Specs
 +
https://ccrma.stanford.edu/room-guides/listening-room
 +
 +
 +
Fernando Lopez-Lezcano is a composer, performer, lecturer and computer
 +
systems administrator at CCRMA, Stanford University. He has been
 +
teaching and taking care of computing resources there since 1993, and
 +
created and maintains since 2001 the Planet CCRMA collection of open
 +
source sound and music packages for Linux. He has been involved in the
 +
field of electronic music since 1976 as a composer, instrument builder
 +
and performer, blurring the lines of his dual background in music (piano
 +
and composition) and electronic engineering. His music has been released
 +
on CD and played in the Americas, Europe and East Asia. He was the
 +
"Edgar Varese Guest Professor" at TU Berlin during the Summer 2008 semester.
 +
 +
 +
Julius O. Smith teaches Music 420 (Signal Processing Models in
 +
Musical Acoustics) and 421 (Audio Applications of the Fast Fourier
 +
Transform) and supervises related research at CCRMA.  He is formally
 +
a professor of music and associate professor (by courtesy) of
 +
electrical engineering. In 1975, he received his BS/EE degree from
 +
Rice University, where he got started in the field of digital signal
 +
processing and modeling for control.  In 1983, he received the PhD/EE
 +
degree from Stanford University, specializing in techniques for
 +
digital filter design and system identification, with application to
 +
violin modeling.  His work history includes the Signal Processing
 +
Department at Electromagnetic Systems Laboratories, Inc., working on
 +
systems for digital communications, the Adaptive Systems Department
 +
at Systems Control Technology, Inc., working on research problems in
 +
adaptive filtering and spectral estimation, and NeXT Computer, Inc.,
 +
where he was responsible for sound, music, and signal processing
 +
software for the NeXT computer workstation.  Prof. Smith is a Fellow
 +
of the Audio Engineering Society and the Acoustical Society of
 +
America.  He is the author of four online books and numerous research
 +
publications in his field. For more information, see
 +
http://ccrma.stanford.edu/~jos/.

Revision as of 16:24, 28 September 2011

9/28 Chris Chafe, Ensembles, Basic Guidelines

- Chris Chafe, Director of CCRMA

- Staff Intros

- Facilities Guidelines

- Ensembles


10/5 Academic Guidelines, New Student Presentations, Dinner

Academic Programs and Guidelines by Tricia Schroeter

New students have 5 minutes to introduce themselves the CCRMA Community and talk about the type of research and creating they have done or are interested in doing. Delicious dinner from Mediterranean Wraps ($5 donation requested).


10/12 Jonathan Berger and Christopher Willits

10/19 Computing Resources at CCRMA, Mark Applebaum, Andrea Agostini

Technical Topic: We will cover topics related to computing at CCRMA and the user resources available here. Topics will include email, storage, computing, remote access, guestnet.


Mark Applebaum is associate professor of composition at Stanford University. He received his Ph.D. in composition from the University of California, San Diego where he studied with Brian Ferneyhough. His solo, chamber, choral, orchestral, operatic, and electroacoustic music has been performed throughout the United States, Europe, Africa, and Asia with notable premieres at the Darmstadt sessions. He has received commissions from the Merce Cunningham Dance Company, the Fromm Foundation, and the Vienna Modern Festival, among others. Applebaum builds electroacoustic sound-sculptures and is active as a jazz pianist. His music can be heard on the Innova, Tzadik, Capstone, Everglade, and SEAMUS labels. See also: www.markapplebaum.com.

10/26 Computing Resources at CCRMA, Edgar Berhdal

Technical Topic: We will cover topics related to computing at CCRMA and the user resources available here. Topics will include email, storage, computing, remote access, guestnet.


Edgar Berdahl is a lecturer in the Music Department at Stanford University in California, USA. Prior to receiving his PhD from Stanford, Berdahl earned a BS in Electrical Engineering and Computer Science at UC Berkeley. His research interests include physical modeling, human-computer interaction, robotics, signal processing, and sound synthesis. He seeks to enhance "digital" musical interactions so that they "seem more analog."

11/02 Max Lab and Bay Area Prototyping Resources, Drupal, CMS, Craig Sapp and eleanor Selfridge-Field , Ge Wang

Stanford Product Realization Lab http://www.stanford.edu/group/prl/prl_site/

Students can take a one hour safety training session and then use the lab for a daily or quarterly fee. Open for four hour blocks of time throughout the quarter. Not open during the summer. Resources include “traditional machining, woodworking, foundry, plastics molding, welding, finishing, and metrology tools. State-of-the-art computer-aided drawing, manufacturing, and prototyping systems are also available.”

PRL Suppliers list http://www.stanford.edu/group/prl/prl_site/ Go to the PRL website and click on the “suppliers” link in the upper right corner. Great list of places to get stuff in the Bay Area.

Tech Shop – Menlo Park and San Francisco http://techshop.ws/

Monthly membership and various classes give you access to everything from CNC plasma cutters to industrial sewing machines. This is sort of like a PRL for non-university folks and they have equipment that the PRL doesn't have.


McMaster Carr mcmaster.com They have almost any piece of hardware you could ever want. Prices are ok.


TAP Plastics – Mountain View, San Francisco http://www.tapplastics.com/ Best Local supplier of plastics


Online Metals http://www.onlinemetals.com/ Great place to get small amounts of metal

Pick N Pull = San Jose, Oakland http://www.picknpull.com/ Do it yourself junkyard. Not the cheapest but you can sometimes get good deals.


HSC (Halted) Electronics – Santa Clara http://www.halted.com/ Good local resource for surplus electronics. Close to El Camino Mongolian BBQ resturaunt and Central Computers.

Douglas & Sturgess – San Francisco Supplier of all things sculputral – great supply of silicon and epoxy needs.


The music information lab in the Braun Music Center (#129-130) works in intersecting areas of music, music theory, computer science, and cognitive studies. Symbolic music representation systems (http://www.ccarh.org/publications/books/beyondmidi) are central to all of these endeavors.

Specific areas of activity include:

1. Robust encoding, acquisition, and printing systems across platforms (Score, Finale, Sibelius, MuseScore, Noteflight, MuseData, OCR, et al: see http://253.ccarh.org)

2. Symbolic music retrieval via the Themefinder database (for low- and high-precision searches of encoded music): see http://www.themefinder.org/

3. Music analysis and tool development for the Humdrum Toolkit (http://humdrum.ccarh.org/)

4. Methods of visualization, such as [WINDOWS-1252?]Sapp’s keyscapes (structural harmonic analyses): http:// ccrma.stanford.edu/~craig/keyscape/class

5. Data interchange and the re-purposing of musical [WINDOWS-1252?]data—

   MusicXML: http://recordare.com/musicxml/specification/ 
   MEI: http://www2.lib.virginia.edu/innovation/mei/ 

We also build aggregations of encoded data for notation and analysis. Our major collections are these:

1. MuseData: http://www.musedata.org 2. KernScores: http://kern.humdrum.net

Courses offered at CCARH include

1. Music 252 Introduction to Music Notation Software (autumn) 2. Music 253 Introduction to Musical Information (winter) 3. Music 254 Music Query, Analysis, and Style Simulation (spring): project-oriented course

For an aggregation of all these projects, see the Center for Computer Assisted Research in the Humanities: http://www.ccarh.org


Ge Wang is an Assistant Professor at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA), and researches interactive software systems for computer music, programming languages, social/mobile music, and education at the intersection of computer science and music. Ge is the author of the ChucK audio programming language, the founding director of the Stanford Laptop Orchestra (SLOrk), and the co-founder and director of the Stanford Mobile Phone Orchestra (MoPhO). Ge is also the Co-founder, CTO, and Chief Creative Officer of Smule, and the designer of the iPhone's Ocarina and the iPad's Magic Piano.


11/09 Studios D and E, Digital Mixers, Marina Bosi

Technical Topic: Hands on instruction and practice using the Yamaha digital mixers available in Studios C, D, E and the CCRMA Stage. Discussion of the software and hardware tools available in Studios D and E.

Marina Bosi is Consulting Professor in the Music Department at Stanford University and is also a founding member and director of the Digital Media Project, a non-profit organization that promotes successful development, deployment, and use of Digital Media. Previously, Dr. Bosi was Chief Technology Officer of MPEG LA®, a firm specializing in the licensing of multimedia technology; VP-Technology, Standards and Strategies at Digital Theater Systems (DTS); and was part of the research team at Dolby Laboratories working on AC-2 and AC-3 technology where she also led the MPEG-2 AAC development. Dr. Bosi has been actively involved in the development of standards for audio and video coding and for managing digital content, contributing to the work of ANSI, ATSC, DVD Forum, DVB, ISO/IEC MPEG, SDMI, and SMPTE.

A past President of the Audio Engineering Society (AES), Dr. Bosi also served the AES in various capacities including as a member of the Board of Governors and as VP of the Western Region USA and Canada. Dr. Bosi is a member the Technical Committee on Audio and Electroacoustics of the IEEE Signal Processing Society, a senior member of IEEE, and a member of ASA. Dr. Bosi received the AES Fellowship Award for her contributions to the standardization of audio coding, video coding, and secure digital content. She received the AES Board of Governors Award twice: for her co- chairmanship of the 96th AES Convention and again for her co-chairmanship of the 17th AES International Conference, the first scientific international conference dedicated to the topic of high quality audio coding. Dr. Bosi was the editor of MPEG-2 Advanced Audio Coding (AAC) for which she received a Certificate of Appreciation from ISO/IEC. She also has received several awards for her scholarship from both the French and Italian governments. Dr. Bosi holds several patents and publications in the field and is author of the acclaimed textbook “Introduction to Digital Audio Coding and Standards” (Kluwer/Springer December 2002) translated into Chinese and Korean.

11/16 IPL/Studio C, Jaroslaw Kapuscinski, Jonathan Abel

11/30 Events and Concerts, Stage Use, Bruno Ruviaro, Tom Rossing

Technical Topic: We will go over how to book events and concerts at CCRMA including scheduling, publicity, and gear check-out. We will also do a hands on demo of the major components of the stage including the mixing board and the lighting board.

Bruno Ruviaro is a composer originally from São Paulo, Brazil, and has been living in the United States since 2002. He composes both acoustic and electronic music. Recordings of his two most recent pieces ("Intellectual Impropriety 0.6", for laptop orchestra, and "Drei, Dai, Dry", for viola, cello, and percussion), can be heard at <http://www.brunoruviaro.com/ >. Current interests include the study and criticism of intellectual property and musical borrowing in both classical and popular music history. He is currently a Post-Doctoral Scholar and concert organizer at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University.

Thomas D. Rossing (Distinguished Research Professor of Physics Emeritus, Northern Illinois University and Visiting Professor of Music at Stanford University) is the author of over 400 publications, including 18 books, mostly on magnetism and acoustics. His latest books are the Springer Handbook of Acoustics and The Science of String Instruments, which is currently in press at Springer. He is also writing a chapter for the 3rd edition of The Psychology of Music by Diana Deutsch. He has directed church choirs and handbell choirs, played clarinet in orchestras and chamber ensembles, and appeared as tenor soloist. He has been a visiting professor at universities in Korea and Scotland as well as in the United States.

   He is a Fellow of the American Physical Society, The Acoustical Society of America,  the American Association for the Advancement of Science, and IEEE.  He was awarded the Silver Medal in Musical Acoustics and the Gold Medal in Acoustics by the Acoustical Society of America and the Robert Millikan Medal by the American Association of Physics Teachers.  He will receive the Rayleigh Medal from the Mexican Institute of Acoustics in November.  His biography appears in Who’s Who in America and in the New Groves Dictionary of Music and Musicians.

12/07 Listening Room, Fernando Lopez-Lezzcano, Julius Smith

Technical Topic: Nando will give a tour of the listening room. Information about the rooms can be found here: https://ccrma.stanford.edu/wiki/Listening_Room_Specs https://ccrma.stanford.edu/room-guides/listening-room


Fernando Lopez-Lezcano is a composer, performer, lecturer and computer systems administrator at CCRMA, Stanford University. He has been teaching and taking care of computing resources there since 1993, and created and maintains since 2001 the Planet CCRMA collection of open source sound and music packages for Linux. He has been involved in the field of electronic music since 1976 as a composer, instrument builder and performer, blurring the lines of his dual background in music (piano and composition) and electronic engineering. His music has been released on CD and played in the Americas, Europe and East Asia. He was the "Edgar Varese Guest Professor" at TU Berlin during the Summer 2008 semester.


Julius O. Smith teaches Music 420 (Signal Processing Models in Musical Acoustics) and 421 (Audio Applications of the Fast Fourier Transform) and supervises related research at CCRMA. He is formally a professor of music and associate professor (by courtesy) of electrical engineering. In 1975, he received his BS/EE degree from Rice University, where he got started in the field of digital signal processing and modeling for control. In 1983, he received the PhD/EE degree from Stanford University, specializing in techniques for digital filter design and system identification, with application to violin modeling. His work history includes the Signal Processing Department at Electromagnetic Systems Laboratories, Inc., working on systems for digital communications, the Adaptive Systems Department at Systems Control Technology, Inc., working on research problems in adaptive filtering and spectral estimation, and NeXT Computer, Inc., where he was responsible for sound, music, and signal processing software for the NeXT computer workstation. Prof. Smith is a Fellow of the Audio Engineering Society and the Acoustical Society of America. He is the author of four online books and numerous research publications in his field. For more information, see http://ccrma.stanford.edu/~jos/.