CCRMA Summer Workshops 2006
Computer Research in Music and Acoustics offers intensive programs where top
educators and researchers from the fields
of music, engineering, and computer science will present a detailed
study of specialized subjects. The workshops are one or two week
programs located at the Knoll (except where indicated), CCRMA's newly
on Stanford Campus June 26, through August 25, 2006.
are open to the public. Each day begins at 9:00 am and ends at
with an hour for lunch on your own. The workshops are held at the
Knoll located on the Stanford Campus at 660 Lomita Drive,
to the Workshop can be found at http://www.stanford.edu/home/visitors/maps.html.
Parking information and
directions to campus can be found at:
Summer Workshop 2006 in Korea NEW!!
Classes held at the Computer Music Lab.,
Dongguk University, Seoul, Korea
Lectures will be given in Korean.
Introduction to Sound Synthesis and Audio DSP for musicians
with MATLAB & Max/MSP
June 26 - June 30
workshop is an introduction to fundamental elements of digital audio
signal processing, such as spectra, the Discrete Fourier Transform,
digital filters, and various sound synthesis methods. The workshop
will consist of half-day lectures and half-day supervised labs.
Lectures will feature theoretical issues, and will be complemented by
hands-on, step-by-step examples of lab sessions. MATLAB and Max/MSP
will be used for in-class demonstrations and lab exercises. As an
introductory course, it is primarily geared for musicians or
composers interested in exploring the basics of audio DSP and their
applications to music and sound. Familiarity with digital audio and
advanced calculus will be helpful, but the lectures and labs will be
designed to be suitable for participants with little engineering
experience. This workshop is also designed to serve as a precursor to
the CCRMA Digital Signal Processing workshop.
more information, please visit Computer
Music Lab at Dongguk University
Interaction Design for Music (PID)
26 - July 7 (including July 4)
Michael Gurevich, Carr Wilkerson
workshop integrates programming, electronics, interaction design,
audio, and interactive music. Focus will be on hands-on applications
using sensors and microprocessors in conjunction with real-time DSP to
make music. Specific technologies will include C programming for Atmel
AVR microcontrollers, PD and/or Max/MSP for music synthesis, and
sensors including force-sensitive resistors, bend sensors,
accelerometers, IR range finders, etc. Participants will design
and build working prototypes using a kit* that can be taken home at the
of the workshop. Further issues to be explored will include modes and
mappings in computer music, exercises in invention, and applications of
sensors and electronics to real-time music. The course will be
augmented by a survey of existing controllers and pieces of interactive
This workshop is intended for:
will consist of half-day supervised lab sessions, and half-day
lectures, classroom exercises and discussions. Classroom
or composers interested in exploring new possibilities
in interactive music in a hands on and technical way;
looking to gain valuable skills in basic analog and digital
electronics, with a focus on invention;
computer scientists, or product designers interested in
exploring artistic outlets for their talents an collaborating with
performers and composers.
sessions will feature live demos and/or concerts of interactive music
and instruments. Participants are encouraged (but by no means required)
to bring their own laptop computers with any music software/hardware
they already use.
*NOTE: There is a $150 lab fee included in the cost of this workshop.
Participants have the the option of
taking home the lab kit at the end of the workshop. The kit contains a
prototyping board, power supply, data
cable, and a variety of sensors. The
prototyping board consists of an Atmel AVR microcontrollers development
board with on-board programming,
debugging and connectivity
interfaces, LCD display, speaker, and solder less breadboard strips for project
development. Sensors include
potentiometers, photo cells and shaft encoders.
Signal Processing: Spectral and Physical Models (DSP)
July 10 - July 21
Perry Cook, Xavier Serra
This course will cover analysis and
synthesis of sounds based on spectral and physical models.
methods for synthesizing real-world sounds, as well as musical sounds,
will be presented.
The course will be organized into morning lectures,
covering theoretical aspects of the models, and afternoon lab sessions.
The morning lectures will present topics such as Fourier theory,
spectrum analysis, the phase vocoder, digital waveguides,
filter theory, pitch detection, linear predictive coding (LPC),
high-level feature extraction, and various other aspects
processing of interest in sound applications.
The afternoon labs
will be hands-on sessions using SMS, the Synthesis ToolKit in C++,
Matlab, and other software systems and utilities.
engineering, mathematics, physics, and programming will be useful, but
the lectures and labs will be geared
to a musical audience with basic
experience in math and science. Most of the programs used in the
workshop will be available to take home.
Given the short duration of the workshop and the broad
topics to cover, the lectures will be comprehensive in nature.
a full complement of in-depth readings will be provided for those who
wish to investigate the details of the material.
Also, the last two
days of the workshop will include a more detailed treatment of some
advanced topics and the corresponding
afternoon labs will give the
students a chance to solve some specific problems of their interest.
Perry R. Cook, is the author of Real Sound Synthesis for
Processing Techniques for Digital Audio Effects (DAE)
July 24 - August 4
Jonathan Abel, Dave
processing methods for audio effects used in mixing and mastering will
be covered. Topics include techniques for dynamic
range compression, reverberation and room impulse response measurement,
equalization and filtering, and panning and
spatialization, with attention given to digital emulation of analog processors and
implementation of time varying effects. Among the
effects studied will be single-band and multiband compressors, limiters, noise
gates, de-essers, feedback delay network and
convolutional reverberators, flangers and phasors, parametric and linear-phase
equalizers, wah-wah and envelope-following filters, and
The course material will be presented in daily lecture sessions with laboratory exercises
interspersed. The lecture sessions will
concentrate on theoretical issues in the design of digital audio effects, and are
complemented by laboratory work in which students
will develop effects algorithms of their own design.
The course is geared for musicians and recording engineers with an engineering
background, and for engineers and computer scientists
with an interest in music technology. An exposure to digital
including familiarity with digital filtering and the
Fourier Transform is helpful. Some knowledge of Matlab and/or a modest amount of C
programming experience are also helpful for the
Audio Coding (PAC)
August 14-18 DATE CHANGE!!
Marina Bosi, Richard
Perceptual audio coders are currently
used in many applications including Digital Radio and Television,
Digital Sound on Film, Multimedia/Internet Audio,
Portable Devices, and
Electronic Music Distribution (EMD). This Workshop integrates digital
signal processing, psychoacoustics, and programming to provide
basis for building a simple perceptual audio coding system. The first
part of the workshop addresses the basic principles of perceptual audio
In the second part, design choices applied in state-of-the-art
audio coding schemes, e.g. AC-3; MPEG Layers I, II, and III (MP3); MPEG
AAC; MPEG-4 are presented.
In-class demonstrations will allow students
to hear the quality of state-of-the-art implementations at varying data
rates and they will be required to program their own
audio coder during the workshop. This Workshop is intended for:
- Musicians/composers interested in exploring widely used digital
- Anyone looking to know more about media technology used in our
- Engineers / computer scientists / product designers interested
in exploring the principles and practices of audio coding standards.
The workshop will consist of half-day lectures, half-day supervised
lab sessions, and classroom exercises and discussions. In addition to
addressing basic theory and implementations, classroom sessions will
feature state-of-the-art audio coding demos. Participants are
encouraged (but by no means required) to bring their own laptop
computers. Knowledge of basic digital audio principles and C
programming is expected.
Marina Bosi, Richard E. Goldberg are
co-authors of the book, Introduction to Digital Audio Coding and
to Audio /
Multimedia Programming (IAMP)
This workshop is an introduction to various topics of audio/multimedia
application programming on Mac OS X and/or Linux platform. We explore
the basics of audio programming, graphic user interface design, A/V
integration, and media control over network. Specific technologies will
include C/C++ audio programming with Synthesis Tool Kit (STK), VST
plug-ins, PD and/or Max/MSP external objects, Cocoa and/or Qt-based GUI
design, integration with image/graphics libraries, audio streaming, and
Open Sound Control (OSC).
The workshop will consist of
half-day lectures and half-day supervised labs. Lectures will feature
step-by-step instructions and demos of actual application programmings
as well as theoretical issues, and will be complemented by hands-on
examples and exercises of lab sessions.
As an introductory course, it is
primarily targeted at musicians, composers, or visual artists
interested in developing audio/multimedia applications and plug-ins
(but not sure how and where to begin.) Familiarity with digital audio,
object-oriented programming, and various audio/vusial APIs will be
helpful, but the lectures and labs will be designed to be suitable for
entry-level programmers with basic experience. Participants are
encouraged (but not required) to bring their Macintosh laptop computers
running OS X.
This workshop is also designed to
serve as a series of practical programming
tutorial sessions for the workshops listed above, as well
as many courses offered at the Center
for Computer Research in Music and
and Performance with
Open-Source Technologies (COMPOST)
TUITION AND FEES
$650 per week, some lab fees may be associated and payable
to Stanford University on first day of class.
is offered for participation in the workshops.
are not included in the course fee. Campus housing
available for the summer workshops through the Stanford
Parking costs are
not included in the course fee. Parking information can be found
at the Stanford Parking and Transportation website:
SUMMER WORKSHOP CONTACT