CCRMA
CCRMA Summer Workshops 2006  Register Now!



GENERAL INFORMATION
The Center for 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 renovated facilities  on Stanford Campus June 26, through August 25, 2006.

The workshops are open to the public.  Each day begins at 9:00 am and ends at 5:00 pm with an hour for lunch on your own.  The workshops are held at the Knoll  located  on the Stanford Campus at 660 Lomita Drive, Stanford California, 94305-8180.  

Directions 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:  http://transportation.stanford.edu/index.shtml.


WORKSHOP CALENDAR 

CCRMA 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
1 week
June 26 - June 30
Woon Seung Yeo

This 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.

For more information, please visit Computer Music Lab at Dongguk University



Physical Interaction Design for Music (PID)  

2 weeks
June 26 - July 7 (including July 4)
Michael Gurevich, Carr Wilkerson


This 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 end
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 music.

This workshop is intended for:

The workshop will consist of half-day supervised lab sessions, and half-day lectures, classroom exercises and discussions. Classroom
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
force-sensitive resistors, potentiometers, photo cells and shaft encoders.



Digital Signal Processing:  Spectral and Physical Models (DSP)
2 weeks
July 10 - July 21

Perry Cook, Xavier Serra

This course will cover analysis and synthesis of sounds based on spectral and physical models.
Models and 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,
digital filter theory, pitch detection, linear predictive coding (LPC), high-level feature extraction, and various other aspects
of signal 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.
Familiarity with 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 spectrum of topics to cover, the lectures will be comprehensive in nature.
However, 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 Interactive Applications


Signal Processing Techniques for Digital Audio Effects (DAE)
2 weeks
July 24 - August 4

Jonathan Abel, Dave Berners

Digital signal 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 Leslie.

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 signal processing, 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
laboratory exercises.


Perceptual Audio Coding (PAC)
1 week
August 14-18 DATE CHANGE!!
Marina Bosi, Richard Goldberg

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
the basis for building a simple perceptual audio coding system. The first part of the workshop addresses the basic principles of perceptual audio coding.
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
simple perceptual audio coder during the workshop. This Workshop is intended for:

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 Standards.


Introduction to Audio / Multimedia Programming (IAMP)
2 weeks
August 14-25
Woon Yeo

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 Acoustics (CCRMA).


CANCELED
Composition and Performance with Open-Source Technologies  (COMPOST)

For composers/performers.
2 weeks
August 14-25



TUITION AND FEES
Courses are $650 per week, some lab fees may be associated and payable to Stanford University on first day of class.

ACADEMIC CREDIT
No academic credit is offered for participation in the workshops.

HOUSING
Housing costs are not included in the course fee. Campus housing is available for the summer workshops through the Stanford University Conference Office.

PARKING
Parking costs are not included in the course fee.  Parking information can be found at the Stanford Parking and Transportation website:
http://transportation.stanford.edu/

SUMMER WORKSHOP CONTACT
Tricia Schroeter
CCRMA Administrator
660 Lomita Drive
Stanford University
Stanford, CA  94305-8180
650-723-4971 x320
650-723-8468 (fax)
tricia@ccrma.stanford.edu