Podcasts about IRCAM

Claudine TiercelinMétaphysique et philosophie de la connaissanceAnnée 2024-2025Colloque - Implications philosophiques de l'IAPierre Saint-Germier : L'expressivité musicale profondePierre Saint-GermierCNRS, IRCAM, Sorbonne-Université, Ministère de la CultureRésuméLes applications récentes d'IA générative musicale peuvent désormais générer des morceaux de différents genres musicaux avec des niveaux d'expressivité inattendus. Une critique ancienne et courante de la musique générée par algorithme découle de son incapacité supposée à exprimer les émotions humaines. La mesure dans laquelle l'expressivité des morceaux générés par des modèles génératifs profonds approche celle des performances enregistrées par des humains reste une question empirique délicate. En supposant qu'un certain niveau d'expressivité (même s'il n'est pas toujours profond ou nuancé) soit atteint par les modèles génératifs récents, il est intéressant d'examiner ce qui reste de l'objection d'inexpressivité. Une version courante de cette objection est que les apparences superficielles d'expressivité musicale dans la production des modèles génératifs ne suffisent pas à montrer une véritable expressivité musicale. Ma communication explore différentes façons d'articuler et d'évaluer cet argument à la lumière des faits concernant les modèles génératifs profonds et les théories philosophiques contemporaines de l'expressivité musicale. Je soutiens que les théories philosophiques les plus influentes de l'expressivité musicale conduisent au point de vue selon lequel la musique générée par l'IA fait preuve d'une expressivité véritable. Une autre leçon, que je propose de tirer des exemples récents d'expressivité musicale artificielle, est que l'importance de l'expressivité en tant que telle pour la valeur de la musique a peut-être été exagérée, par opposition à la mise en œuvre de l'expressivité musicale dans le cadre d'un projet compositionnel ou interprétatif.-- Colloque organisé par Jacques-Henri Vollet, codirecteur du Groupe de recherche en épistémologie (GRE) au Collège de France, et Alexandre Declos, directeur du Groupe d'études en métaphysique (GEM).PrésentationCe colloque vise à explorer les implications philosophiques de l'intelligence artificielle (IA) à travers trois axes majeurs : épistémologique, esthétique et éthique.Sur le plan épistémologique, nous interrogerons la nature de la connaissance produite par l'IA : peut-elle être qualifiée de véritable connaissance ou s'agit-il d'une simple corrélation statistique ? Quelles conséquences l'IA a-t-elle sur les notions de justification, de vérité et d'explicabilité en science et dans la prise de décision ?D'un point de vue esthétique, nous examinerons le statut artistique et la valeur esthétique des productions de l'IA. Peut-on attribuer une forme d'intentionnalité ou d'auctorialité à ces systèmes ? L'IA peut-elle créer de l'art ? N'est-elle qu'un outil artistique parmi d'autres ?Enfin, l'axe éthique portera sur les responsabilités associées au développement et à l'usage de l'IA. Comment assurer une IA alignée sur des valeurs humaines ? Quels sont les défis liés à la partialité algorithmique, à la surveillance de masse et aux impacts socio-économiques de l'automatisation ?Ce colloque réunira des philosophes, des chercheurs en intelligence artificielle et des experts en éthique du numérique afin de proposer une réflexion interdisciplinaire sur ces enjeux cruciaux.

Pierre-Michel MengerCollège de FranceAnnée 2023-2024Sociologie du travail créateurColloque - Boulez : l'invention au pouvoir ? Les années 1975-1995 - Introduction généraleIntervenant :Pierre-Michel MengerProfesseur du Collège de FranceNicolas DoninUniversité de GenèveColloque organisé pour le centenaire de la naissance de Pierre Boulez par le Pr Pierre-Michel Menger, chaire Sociologie du travail créateur, et Nicolas Donin, professeur de musicologie à l'université de Genève.Avec le soutien de la Fondation du Collège de France et de son grand mécène LVMH.PrésentationL'enseignement de Pierre Boulez au Collège de France à partir de 1977, sur une chaire intitulée « Invention, technique et langage en musique », accompagne une période d'intense activité créatrice et institutionnelle. Boulez compositeur se confronte à l'électronique et au thématisme (Répons, Dialogue de l'ombre double) et revisite en profondeur des œuvres de sa première période (Notations, Le Visage nuptial). Boulez chef d'orchestre applique son exigence interprétative tout à la fois aux classiques du XXe siècle et à une nouvelle génération de compositeurs, qu'il promeut au concert et au disque. Boulez fondateur d'institutions assure la direction de l'Ensemble intercontemporain (EIC) et de l'Institut de recherche et de coordination acoustique/musique (Ircam) tout en s'impliquant dans les grands projets musicaux de la politique culturelle française (Opéra Bastille, Cité de la musique). Suite à sa retraite de la direction de l'Ircam en 1992 et du Collège de France en 1995, Boulez amorce une nouvelle phase de son activité principalement centrée sur la direction d'orchestre.Ces deux décennies ont coïncidé avec une forte exposition publique de la figure de Boulez, notamment en France, entre admiration et contestation. La recherche n'a pas encore pris la mesure des dynamiques complexes de son action multiforme comme elle l'a fait pour le Boulez des années 1950 et 1960. Le jeune musicien critique des institutions s'est mué en fondateur d'institution. Quelle organisation intellectuelle, esthétique et logistique a permis à Boulez d'explorer en parallèle des enjeux, des répertoires et des modes d'action si variés ? Quelle place joue désormais l'invention musicale dans ses multiples rôles ? Quelles sources et quelles clés de lecture pourraient éclairer d'un jour nouveau les prises de position formulées dans les nombreux dits et écrits de Boulez de cette période ?2025 Année Boulez est porté par le ministère de la Culture en collaboration avec la Philharmonie de Paris.

Pierre-Michel MengerCollège de FranceAnnée 2023-2024Sociologie du travail créateurColloque - Boulez : l'invention au pouvoir ? Les années 1975-1995 - Spirals in the Harmonic and Formal Structure of RéponsSession 3 : Spirales, dérives, fragments : le style compositionnel des années 1980Intervenant :Catherine LosadaProfessor of Music Theory, University of CincinnattiColloque organisé pour le centenaire de la naissance de Pierre Boulez par le Pr Pierre-Michel Menger, chaire Sociologie du travail créateur, et Nicolas Donin, professeur de musicologie à l'université de Genève.Avec le soutien de la Fondation du Collège de France et de son grand mécène LVMH.RésuméA landmark work, Pierre Boulez's Répons (1980-82) was written to showcase the technological potential of IRCAM, the Parisian Institute for Research and Coordination in Acoustics/Music that Boulez founded in 1977. This piece, like many others, was considered a work-in-progress at the time of the composer's death in 2016. Existing associated scholarship for the most part builds on Boulez's commentary, which encompasses the five chords that generate the first two sections of the work and the concept of a spiral. On the aesthetic level, the spiral clearly illustrates the idea of a constantly evolving, unfinished work (DiPietro 2000), but Boulez's explanation of how it applies to the musical materials is somewhat vague "Répons is a set of variations in which the material is arranged is such a way that it revolves around itself" (Derrien 1988). In this paper, I will show how the model of a spiral is essential to the conception of this piece in two additional ways, one at a technical, pitch generation level, the other a larger formal level. In this way, I will elucidate interesting aspects of the harmonic structure of the piece, its overall form, and their relationship to Boulez's broader aesthetic outlook.The third version of Répons (1984) consists of an introduction, eight sections and a coda. An early version of the piece (1981) ended after the fourth section. My paper will comment on the evolving quality of Boulez's works by examining the relationship between section four and the immediately ensuing section—added in the following version (1982) (Jameux, 1989). The material for both sections is based on a chord that presents the SACHER hexagram in a precise registral disposition. Common to many of Boulez's later works, the use of this hexagram constitutes an homage to Boulez's benefactor, Paul Sacher. Although several sources note the importance of the hexagram for this piece, none explain its precise function. Boulez uses this chord as a basis for a fascinating technique (Example 1) that is related to, but distinct from techniques he used previously in his career, a spiral-like adaptation of a rotational array. The spiraling process creates precise registral invariances illustrated by the fixed boundary pitches and the arrows shown on the sketch. I will show how the array generates the instrumental material (discussed in Williams 1994, Tissier 2011) as well as the superimposed recorded material (the "wallpaper") for section four. Significantly, the material for the fifth section is based on a retrograde reworking of this material. This is the essence behind the formal concept of a spiral: a new, intensified cycling through materials that are related at a deep level. Finally, I will show how Boulez's application of this array creates a background pitch organization with a flexibility that successfully addresses the main challenge he sought to resolve in this piece: that of maintaining the vitality of live performance in a work that includes recorded materials (Boulez 1985). This was one of the most striking and influential aspects of this work.RéférencesBoulez, Pierre. 1985. "Pierre Boulez: Über Répons: ein Interview mit Josef Häusler." InTeilton. Schriftenreihe der Heinrich-Strobel-Stiftung des Südwestfunks. Ed. Josef Häusler. Kassel: Bärenreiter: 7-14.Boulez, Pierre. 2005. "The System and the Idea." In Pierre Boulez Music Lessons : The Collège de France Lectures. Ed. Jonathan Dunsby, Jonathan Goldman and Arnold Whittall. Chicago: University of Chicago Press. Originally published as "Le Système et l'idée." In InHarmoniques 1 (1986) : 62-104.Boulez, Pierre and Andrew Gerzso. 1988. "Computers in Music." Scientific American 258.4: 44-51.

Tranceartige, spirituelle Musik macht Paras Sibalukhulu aus Südafrika. Derzeit tritt er in der Schweiz auf. – Der französische Komponist und Dirigent Pierre Boulez (1925-2016) hinterliess ein Werk, das nachwirkt, etwa das Forschungs- und Kreationslabor IRCAM in Paris. Trancehafte Musik mit ungeheurer Dringlichkeit und ein Publikum wie an einem Gospel-Gottesdienst: Das hat Jonas Ruther erlebt, als er mit südafrikanischen Musikern zwischen Johannesburg und Capetown tourte. Seine intensiven Konzert-Erfahrungen möchte der Schweizer Schlagzeuger nun auch mit dem hiesigen Publikum teilen und lädt seine südafrikanischen Musikerkollegen deshalb in die Schweiz ein. Kurz vor der Tour hat sich Annina Salis über die einzigartige Energie des südafrikanischen Jazz unterhalten, mit Jonas Ruther und dem südafrikanischen Zulu-Sänger Paras Sibalukhulu. Am 26. März wäre Pierre Boulez 100 Jahre alt geworden. Der Komponist und Dirigent war einer der wichtigsten Avantgardisten des 20. Jahrhunderts. Er prägte die neue Musik mit seinen Kompositionen und schuf bis heute führende Institutionen. Etwa das IRCAM in Paris: Boulez entwickelte dieses Forschungs- und Kreationslabor für elektronische Musik, und dessen Direktor Frank Madlener erzählt, wie Boulez' Ideen heute noch inspirieren. Der Komponist initiierte auch die Lucerne Festival Academy: «Er hat uns mit seiner Energie, Disziplin und Leidenschaft bereichert», sagt der Dramaturg Mark Sattler.

Episode 146 Chapter 07, Computer Music Basics. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 07, Computer Music Basics from my book Electronic and Experimental music.   Playlist: Early Computer Synthesis     Time Track Time* Start Introduction –Thom Holmes 01:30 00:00 1 Max Mathews, “Numerology” (1960). Direct computer synthesis using an IBM 7090 mainframe computer and the Music III programming language 02:45 01:32 2 James Tenney, “Analog #1: Noise Study” (1961). Direct synthesis and filtering of noise bands at Bell Labs' facilities. 04:24 04:04 3 Lejaren Hiller, “Computer Cantata” (third movement) (1963). Direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 08:28 4 Jean-Claude Risset, “Mutations I” (1969). Used frequency modulation. 10:23 14:06 5 Charles Dodge, “The Earth's Magnetic Field” (Untitled, part 1) (1970). Used an IBM mainframe computer and the Music 4BF programming language to convert geophysical data regarding the Earth's magnetic field into music. 14:00 24:28 6 Laurie Spiegel, “Appalachian Grove I” (1974). Used the Groove program at Bell Labs. 05:23 38:22 7 Curtis Roads, “Prototype” (1975). Used granular synthesis. 06:11 43:48 8 John Chowning, “Stria” (1977). Used the composer's patented FM synthesis algorithms. 05:14 50:00 9 Jean-Baptiste Barriere, “Chreode” (1983). Granular synthesis using the Chant program at IRCAM; computer-controlled organization of material—a grammar of musical processes prepared with IRCAM's Formes software. 09:24 55:10 10 Barry Truax, “Riverrun” (1986). Composed using only granulated sampled sound, using Truax's real-time PODX system. 19:42 01:04:30   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

In the rapidly evolving landscape of audio technology, the concept of spatial sound has emerged as a groundbreaking innovation that enhances the way we experience audio. Traditionally, spatial sound has been reserved for high-end audio systems or specialized setups, often requiring significant investment in equipment and technology. However, recent advancements, particularly those introduced by companies like Octavio, are paving the way for the democratization of spatial sound technology, making it accessible to a broader audience.What is Spatial Sound?Spatial sound refers to the ability to perceive sound from multiple directions, mimicking the natural auditory experiences we encounter in our daily lives. Imagine standing outdoors, surrounded by the sounds of nature: birds chirping, a gentle breeze rustling the leaves, and the distant babble of a creek. This immersive experience is what spatial sound aims to replicate in a controlled environment, such as a living room or home theater. Yet, until recently, achieving this level of audio immersion required expensive equipment and technical expertise.Octavio, a French audio company, is at the forefront of this movement. With over five years of experience in the hi-fi market, Octavio has developed innovative products that integrate both hardware and software to deliver spatial sound. Their flagship products, Harmony Bridge and Harmony Link, exemplify their commitment to democratizing audio experiences. Harmony Bridge acts as an interface between various audio sources-such as televisions, turntables, and streaming platforms-and any existing speaker system. Harmony Link, on the other hand, is a compact device that can be connected to speakers, enabling them to access Octavio's spatial sound technology.Democratizing Spatial Sound Technology AccessThe brilliance of Octavio's approach lies in its compatibility with a wide range of audio systems. Unlike traditional surround sound setups that require extensive wiring and specific equipment, Octavio's solutions can work with any speaker, whether it's a passive bookshelf speaker or a soundbar. This flexibility allows consumers to enhance their audio experience without the need for significant investment in new hardware. By leveraging existing equipment, Octavio effectively lowers the barriers to entry for spatial sound technology.A significant aspect of Octavio's innovation is its collaboration with the French audio research center IRCAM. This partnership has led to the development of algorithms capable of converting standard stereo content into spatial sound. This breakthrough means that users can enjoy an enriched audio experience regardless of the source material. Whether listening to music, watching movies, or playing video games, the technology ensures that sound is not only heard but felt, creating an immersive environment that enhances the overall experience.Expanding the Possibilities of Content CreationThe implications of democratizing spatial sound technology are profound. For one, it opens up new avenues for content creators, musicians, and filmmakers to explore innovative ways of engaging their audiences. By providing an accessible platform for spatial sound, Octavio empowers creators to push the boundaries of their work, leading to richer and more immersive storytelling. Furthermore, as spatial sound becomes more commonplace, it may influence the design and production of audio content, encouraging a shift towards more dynamic and engaging auditory experiences.Moreover, the democratization of spatial sound technology aligns with broader trends in technology and media consumption. As consumers increasingly seek personalized and immersive experiences, the demand for accessible audio solutions will continue to grow. Companies like Octavio are not only responding to this demand but are also setting new standards for what is possible in audio technology.Conclusion: Spatial Sound in Any EnvironmentIn conclusion, the efforts to democratize spatial sound technology access represent a significant leap forward in the audio industry. By making advanced audio experiences available to a wider audience, Octavio and similar innovators are reshaping the way we interact with sound. As this technology continues to evolve and become more integrated into everyday life, it holds the promise of transforming our auditory experiences, enhancing the way we consume media, and ultimately enriching our lives. The future of audio is not just about hearing; it's about experiencing, and with advancements like those from Octavio, that future is becoming increasingly accessible to all.Interview by Marlo Anderson of The Tech Ranch.Sponsored by: Get $5 to protect your credit card information online with Privacy. Amazon Prime gives you more than just free shipping. Get free music, TV shows, movies, videogames and more. The most flexible tools for podcasting. Get a 30 day free trial of storage and statistics.

In the rapidly evolving landscape of audio technology, the concept of spatial sound has emerged as a groundbreaking innovation that enhances the way we experience audio. Traditionally, spatial sound has been reserved for high-end audio systems or specialized setups, often requiring significant investment in equipment and technology. However, recent advancements, particularly those introduced by companies like Octavio, are paving the way for the democratization of spatial sound technology, making it accessible to a broader audience.What is Spatial Sound?Spatial sound refers to the ability to perceive sound from multiple directions, mimicking the natural auditory experiences we encounter in our daily lives. Imagine standing outdoors, surrounded by the sounds of nature: birds chirping, a gentle breeze rustling the leaves, and the distant babble of a creek. This immersive experience is what spatial sound aims to replicate in a controlled environment, such as a living room or home theater. Yet, until recently, achieving this level of audio immersion required expensive equipment and technical expertise.Octavio, a French audio company, is at the forefront of this movement. With over five years of experience in the hi-fi market, Octavio has developed innovative products that integrate both hardware and software to deliver spatial sound. Their flagship products, Harmony Bridge and Harmony Link, exemplify their commitment to democratizing audio experiences. Harmony Bridge acts as an interface between various audio sources-such as televisions, turntables, and streaming platforms-and any existing speaker system. Harmony Link, on the other hand, is a compact device that can be connected to speakers, enabling them to access Octavio's spatial sound technology.Democratizing Spatial Sound Technology AccessThe brilliance of Octavio's approach lies in its compatibility with a wide range of audio systems. Unlike traditional surround sound setups that require extensive wiring and specific equipment, Octavio's solutions can work with any speaker, whether it's a passive bookshelf speaker or a soundbar. This flexibility allows consumers to enhance their audio experience without the need for significant investment in new hardware. By leveraging existing equipment, Octavio effectively lowers the barriers to entry for spatial sound technology.A significant aspect of Octavio's innovation is its collaboration with the French audio research center IRCAM. This partnership has led to the development of algorithms capable of converting standard stereo content into spatial sound. This breakthrough means that users can enjoy an enriched audio experience regardless of the source material. Whether listening to music, watching movies, or playing video games, the technology ensures that sound is not only heard but felt, creating an immersive environment that enhances the overall experience.Expanding the Possibilities of Content CreationThe implications of democratizing spatial sound technology are profound. For one, it opens up new avenues for content creators, musicians, and filmmakers to explore innovative ways of engaging their audiences. By providing an accessible platform for spatial sound, Octavio empowers creators to push the boundaries of their work, leading to richer and more immersive storytelling. Furthermore, as spatial sound becomes more commonplace, it may influence the design and production of audio content, encouraging a shift towards more dynamic and engaging auditory experiences.Moreover, the democratization of spatial sound technology aligns with broader trends in technology and media consumption. As consumers increasingly seek personalized and immersive experiences, the demand for accessible audio solutions will continue to grow. Companies like Octavio are not only responding to this demand but are also setting new standards for what is possible in audio technology.Conclusion: Spatial Sound in Any EnvironmentIn conclusion, the efforts to democratize spatial sound technology access represent a significant leap forward in the audio industry. By making advanced audio experiences available to a wider audience, Octavio and similar innovators are reshaping the way we interact with sound. As this technology continues to evolve and become more integrated into everyday life, it holds the promise of transforming our auditory experiences, enhancing the way we consume media, and ultimately enriching our lives. The future of audio is not just about hearing; it's about experiencing, and with advancements like those from Octavio, that future is becoming increasingly accessible to all.Interview by Marlo Anderson of The Tech Ranch.Sponsored by: Get $5 to protect your credit card information online with Privacy. Amazon Prime gives you more than just free shipping. Get free music, TV shows, movies, videogames and more. The most flexible tools for podcasting. Get a 30 day free trial of storage and statistics.

Click ⁠⁠⁠⁠⁠⁠⁠⁠⁠DistroKid.com/vip/lovemusicmore to sign up and receive 30% off your first year to distribute your music to the whole world! Nolan Lem's work has been featured internationally at venues such as the Museum of Modern Art Buenos Aires, Pioneer Works , L'HOSTE Art Contemporain , and the Danish National Museum of Music. He has participated in a number of residencies, including IRCAM, MassMoCA, Cité Internationale des Arts, and the Bemis Center for Contemporary Arts. Nolan joins us to explore his fascinating work with interactive sound systems and sonic machinery. Drawing from his unique background in saxophone performance, electrical engineering, and computer music, Nolan shares how he creates immersive audio-visual environments that bring together technology, sound, and systems thinking. From his time at Stanford's CCRMA to his current research at Chalmers University, discover how Nolan's innovative approach is pushing the boundaries of contemporary sound art. Connect with Nolan: ✏️ Website ✏️ ⁠Instagram⁠ Pick up my ⁠⁠⁠⁠⁠new LP "I" on vinyl⁠⁠⁠⁠⁠ in its full spinning colorfulness⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ while they last

アーティスト/DJの真鍋大度が様々なジャンルのイノベーターをお迎えするトークセッション「FROM THE NEXT ERA」。対話の中からイノベーションの種を導き出します。今回は、ピアニスト・角野隼斗さんをお迎えして、ニューヨークに活動の拠点を構えたきっかけや、坂本龍一さんの楽曲「solari」をカバーされた上で、坂本龍一さんは角野さんにとって どんな存在なのか、また、東京大学大学院情報理工学系研究科、フランスの IRCAM（音響音楽研究所）で行われていた研究、活動のターニングポイントとなった、2018年 第42回ピティナ・ピアノコンペティションのタイミングで起きていたことなど伺います。See omnystudio.com/listener for privacy information.

During the 19th SIMM-podcast episode we assist to a conversation between biologist Olivier Hamant (Institut Michel Serre) and musician Jean-Luc Plouvier (Ictus Ensemble) on ideas and experiences they share with each other from their work on the natural world and the world of music-making. SIMM-founder Lukas Pairon interviews them. Referenced during this podcast-episode: Philippe Boesmans, John Cage, "Un homme ça s'empêche" (Albert Camus), eco-anxiety, free jazz, Philip Glass, Glenn Gould, Goodhart's law, Olivier Hamant's 'Antidote to the cult of performance', Olivier Hamant's 'De l'incohérence - philosophie politique de la robustesse', Olivier Hamant's 'La troisième voix du vivant', Ictus Ensemble, Steve Reich's 'Music for 18 Musicians', Ircam, robustness, serendipity, Michel Serre Institut, Reich's psychoacoustic by-products of repetition and phase-shifting, Simon Sinek's conference on 'The Infinite Game', systems thinking, Gertrude Stein, stochastic processes in biologyThe transcription of this episode can be found here.And during this episode music is shortly heard from Steve Reich's 'Music for 18 Musicians' (played by the Steve Reich Ensemble), as well as rehearsal recordings of the Kinshasa based traditional drummers ensemble Beta Mbonda.

The Origins of Ircam Amplify and Its MissionAs CEO, Nathalie Birocheau begins by introducing Ircam, a renowned French institution founded 40 years ago by Pierre Boulez. "Ircam was created to imagine a place where musicians, composers, scientists, and engineers could work together to invent the future of music," Nathalie explains. This innovative environment has been instrumental in advancing audio technology and contemporary music.Founding Ircam AmplifyTo bridge the gap between research and market needs, Nathalie co-founded Ircam Amplify five years ago. "Ircam Amplify is a private company focused on creating innovative products and services inspired by Ircam's expertise." Consequently, the goal is to develop market-centric solutions that address real-world problems in the audio industry. Moreover, by leveraging Ircam's extensive knowledge and experience, Ircam Amplify aims to deliver practical and impactful advancements in audio technology.Practical Applications of Audio Innovation TechnologyUnder Nathalie's leadership, Ircam Amplify continues to develop various audio technologies for the music industry. "We've created solutions for tagging music catalogs, verifying track quality, and detecting undeclared covers." One notable innovation is a tool that shortens music tracks while preserving artistic intent, making them suitable for radio play.Partnering with Industry LeadersIrcam Amplify collaborates with leading brands like Louis Vuitton, seamlessly integrating audio technology into their products. As Nathalie explains, "we are the sound partner for Louis Vuitton's connected objects, ensuring a holistic approach to audio that enhances the user experience." Furthermore, this partnership shows how audio innovation can elevate brand desirability and product differentiation. As a result, the collaboration showcases the potential of advanced audio solutions. It also highlights the importance of sound in creating a compelling consumer experience.Addressing AI's Impact on Music through Audio InnovationNathalie discusses the development of an AI-generated music detector, responding to the influx of AI-created content. "Our algorithm can detect tracks created by AI, providing transparency for consumers and tools for the music industry to manage their catalogs." This innovation highlights the need for transparency and quality in the evolving landscape of music technology. Find Nathalie on:LinkedIn: Nathalie BirocheauTwitter/X: @NBirocheauFind Ben on:LinkedIn: Ben CostantiniTwitter/X: @bencostantini----Be sure to follow us on Instagram, LinkedIn, and X for more cool stories from the people we catch during the best Tech events!

Le chocolat a un son.Expérience inédite sur la station podcast de FeuilleBlanche a Vivatech. Nous avons fermé les yeux, ouvert nos oreilles et fait confiance à Nathalie Birocheau co fondatrice et CEO d'Ircam Amlify. Elle vous emmène dans un voyage auditif incomparable… qui n'a jamais rêvé de ressentir l'acidité et le croquant du chocolat par le son ? Allez y tester !Nathalie était accompagnée sur notre plateau d'Olivier Le Garlantezec, Digital Tech Partnerships Director de LVMH qui avait eu l'honneur de lui remettre la veille l'award Image and Media Brand Desirability. Dans cet épisode, riche en expériences sonores, on parle :

Técnica de producción de sonidos basada en la premisa de que un sonido puede dividirse en partículas, granoso cuantos, entidades sonoras de una duración de 10 a 100 milisegundos. El sonido lo producen pequeñas explosiones de energía encapsuladas en una envolvente y agrupadas en conjuntos mayores._____Has escuchadoHalf​-​Life, Part I: Sonal Atoms (1999) / Curtis Roads. presto!? (2019)PianoHertz (2012) / Horacio Vaggione. empreintes DIGITALes (2012)Riverrun (1986) / Barry Truax. Cambridge Street Records (1987)_____Selección bibliográficaASSAYAG, Gérard y Andrew Gerzso (eds.), New Computational Paradigms for Computer Music. Delatour; IRCAM, 2009*BESSELL, David, “Formant Synthesis, Granular Synthesis, and Waveshaping in ‘Halo, Bells and Voices', Bessell”. Perspectives of New Music, vol. 45, n.º 1 (2007), pp. 236-252*GRABÓCZ, Márta, Entre naturalisme sonore et synthèse en temps réel. Images et formes expressives dans la musique contemporaine. Éditions des Archives Contemporaines, 2013MCGUIRE, Sam y Nathan van der Rest, The Musical Art of Synthesis. Focal Press, 2016*MIRANDA, Eduardo Reck, “Granular Synthesis of Sounds by Means of a Cellular Automaton”. Leonardo, vol. 28, n.º 4 (1995), pp. 297-300*PHILLIPS, Thomas, “Composed Silence: Microsound and the Quiet Shock of Listening”. Perspectives of New Music, vol. 44, n.º 2 (2006), pp. 232-248*POLI, Giovanni de, “A Tutorial on Digital Sound Synthesis Techniques”. Computer Music Journal, vol. 7, n.º 4 (1983), pp. 8-26*ROADS, Curtis, Microsound. The MIT Press, 2001—, The Computer Music Tutorial. The MIT Press, 2023*ROCHA ITURBIDE, Manuel, Les techniques granulaires dans la synthèse sonore. Tesis Doctoral, Universidad de París VIII, 1999SU, Isabelle et al., “Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis”. Computer Music Journal, vol. 44 (2020), pp. 43-59*TRUAX, Barry, “Composing with Real-Time Granular Sound”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 120-134*—, “Composing with Time-Shifted Environmental Sound”. Leonardo Music Journal, vol. 2, n.º 1 (1992), pp. 37-40*WAKEFIELD, Graham y Gregory Taylor, Generating Sound & Organizing Time: Thinking with Gen-: Book 1. Cycling 74, 2022* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Técnica de producción de sonidos basada en la premisa de que un sonido puede dividirse en partículas, granoso cuantos, entidades sonoras de una duración de 10 a 100 milisegundos. El sonido lo producen pequeñas explosiones de energía encapsuladas en una envolvente y agrupadas en conjuntos mayores._____Has escuchadoHalf​-​Life, Part I: Sonal Atoms (1999) / Curtis Roads. presto!? (2019)PianoHertz (2012) / Horacio Vaggione. empreintes DIGITALes (2012)Riverrun (1986) / Barry Truax. Cambridge Street Records (1987)_____Selección bibliográficaASSAYAG, Gérard y Andrew Gerzso (eds.), New Computational Paradigms for Computer Music. Delatour; IRCAM, 2009*BESSELL, David, “Formant Synthesis, Granular Synthesis, and Waveshaping in ‘Halo, Bells and Voices', Bessell”. Perspectives of New Music, vol. 45, n.º 1 (2007), pp. 236-252*GRABÓCZ, Márta, Entre naturalisme sonore et synthèse en temps réel. Images et formes expressives dans la musique contemporaine. Éditions des Archives Contemporaines, 2013MCGUIRE, Sam y Nathan van der Rest, The Musical Art of Synthesis. Focal Press, 2016*MIRANDA, Eduardo Reck, “Granular Synthesis of Sounds by Means of a Cellular Automaton”. Leonardo, vol. 28, n.º 4 (1995), pp. 297-300*PHILLIPS, Thomas, “Composed Silence: Microsound and the Quiet Shock of Listening”. Perspectives of New Music, vol. 44, n.º 2 (2006), pp. 232-248*POLI, Giovanni de, “A Tutorial on Digital Sound Synthesis Techniques”. Computer Music Journal, vol. 7, n.º 4 (1983), pp. 8-26*ROADS, Curtis, Microsound. The MIT Press, 2001—, The Computer Music Tutorial. The MIT Press, 2023*ROCHA ITURBIDE, Manuel, Les techniques granulaires dans la synthèse sonore. Tesis Doctoral, Universidad de París VIII, 1999SU, Isabelle et al., “Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis”. Computer Music Journal, vol. 44 (2020), pp. 43-59*TRUAX, Barry, “Composing with Real-Time Granular Sound”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 120-134*—, “Composing with Time-Shifted Environmental Sound”. Leonardo Music Journal, vol. 2, n.º 1 (1992), pp. 37-40*WAKEFIELD, Graham y Gregory Taylor, Generating Sound & Organizing Time: Thinking with Gen-: Book 1. Cycling 74, 2022* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Introducing the latest auditory journey curated by Lola de la Mata for CLOT Magazine's mixtape series. Delving into the mysterious realms of sound, the experimental composer presents a meticulously crafted selection of tracks that traverse the boundless landscapes of sonic exploration. Lola de la Mata, a London-born French/Spanish conceptual sound artist, composer, curator, and musician (violin/voice/theremin), boasts a diverse practice spanning performance art, installation, community projects, and electroacoustic composition. Her first release, the feminist concept album REMISE EN BOUCHE (Pan y Rosas Discos 2018), was followed by The Embalmer (Nonclassical 2021) and KOH—Klee—uh (SA Recordings 2022), laying the groundwork for her latest album, Oceans on Azimuth, set for release on May 8th. Currently, Lola's artistic focus centres around listening and hearing practices, tinnitus and aural diversity, and chronic illness experiences, something she focused on after experiencing a trauma episode herself. Rather than giving up music after developing severe tinnitus and vertigo, as she was told, she decided to listen with a new ear and dive deep into the world of tinnitus to cope with the isolating condition and facilitate the connection between sufferers. For Oceans on Azimuth, she reached out to A.J. Hudspeth in New York who runs the sensory cell lab where they study the cochlea. There, she found collaborators in biophysicists who offered her the unique experience of recording her tinnitus. Drawing inspiration from the intricate forms of the cochlea and the inner ear, Lola's compositions emerge as avant-garde sonic tapestries, woven from the rhythmic pulsations of heartbeats and the ethereal whispers of tinnitus, transmuted through an array of innovative instruments. Metal, glass, ceramic, and ice converge to birth otherworldly timbres, while field recordings and traditional string instruments intertwine with inventions like the Claravox theremin and an ear canal-shaped gong. On the other hand, the artist's influence also extends far beyond the realm of composition. As a multifaceted artist, curator, and musician, her tireless advocacy for inclusivity and representation reverberates through her work. From collaborations with fellow artists (musicians, dancers and queer performance artists, most recently with Eve Stainton to a PhD pursuit in tinnitus research.  For this mix, she mentions: I treated the mix as a sonic collection of some of the artists I met and who inspired me along my project journey. With the exception of AYA and Tomoko Sauvage, whom I haven't (yet?) had the chance to meet, some were chance meetings. Stephan Crasneanscki, founder of Soundwalk Collective and Maria Chávez at Rewire last year, for bagpipe player and composer Lise Barkas and I, it was mutual curiosity sitting by the Niki de Saint Phalle fountain outside IRCAM in Paris; while others such as Kepla are supporters of me and my work, and in Mira Calix's case, whom this record is dedicated to, she adopted me as her mentee for two years before she passed. The other dedication on the record is to Anneka Swann - a friend who will retain part of my soul…with May 8th, the album release date marking one year since I last held her. Just as sombreness infused with respite flows through my body and left ear. The mix is imbued with grief, reflection and recalibration. Tracklist 1. Left Ear - Lola de la Mata 2. Stereocilia - Lola de la Mata 3. Lo Becat - Lise Barkas & Lisa Käuffert  4. Mummer Love - Soundwalk Collective with Patti Smith  5. ASLEEP-AWAKE-EKAWA-PEELSA, Spring 2021 - Maria Chávez 6. Sinew (Mira Calix Remix) - House of Bedlam 7. Silence - Keeley Forsyth 8. A Clearing, Spectre in Autumn - Kepla 9. Whorling - Lola de la Mata 10. Icky Dream - Valentina Magaletti & Marlene Ribero  11. Pearl Reservoir - Lola de la Mata 12. Clepsydra -Tomoko Sauvage  13. what if i should fall asleep and slipp - AYA 14. Right Ear - Lola de la Mata

EN PHASE explore le process de travail des artistes les plus créatifs.ves de la scène musique électronique française. Dans cet épisode : DELAURENTIS https://linktr.ee/delaurentis @delaurentis.music *** Cécile aka DeLaurentis fascine par son utilisation avancée des dernières technologies musicales, son travail sur la voix et sur la relation artiste - machine. Fille de pianiste, elle grandit entourée de musiciens, puis étudie la musique au Conservatoire et à l'université du Mirail en option Jazz. Elle développe très jeune un intérêt pour la voix et se produit d'abord en tant que chanteuse, avant de découvrir le monde de la synthèse et de l'audio numérique. Inspirée notamment par Laurie Anderson et Ryūichi Sakamoto, elle commence à expérimenter avec les synthétiseurs, séquenceurs, vocoders, masterisant l'utilisation du contrôleur Push (Ableton) très axée sur la performance live, et la manipulation de sa voix en temps réel. Elle attire l'attention avec des covers et des remixes, partagés sur les réseaux. Après plusieurs EP, syncro pubs et séries, elle propose en 2021 après 2 ans d'introspection, un album concept dans lequel elle met en scène sa relation avec son alter-égo numérique "Unica". On la voit expérimenter avec les gants Mimu, développés par Imogen Heap, l'Erae Touch d'Embodme, collaborer avec l'Ircam et son Virtual Choir, le Spotify CTRL Lab et ses outils d'IA… explorant toujours avec brio ce que les nouvelles technologies peuvent apporter à la musique. On a eu le temps d'aborder un tiers des sujets dont j'aurai aimé discuter avec Cécile, mais l'épisode est déjà super riche : ) --- Send in a voice message: https://podcasters.spotify.com/pod/show/studiomodule/message

Welchen Spielraum haben alternative Künstler:innen in der heutigen digitalen Musikindustrie? Mit solchen und weiteren Fragen werden sich verschiedene Freie Radios aus Europa in Ihrem Musikmagazin beschäftigen. ## IndieRE #84 by Radio Campus & Planisphère Štirideseta oddaja iz nove serije IndieRE 2.0. V seriji IndieRE v produkciji in mednarodni izmenjavi radijske vsebine sodelujemo ljubljanski Radio Študent, hrvaški Radio Student, francoska mreža Radio Campus, Radio Corax iz Halleja v Nemčiji, EMA-RTV iz Španije, irski Near FM, madžarski Civil Rádió in avstrijski Radio Helsinki. Mellow sounds with gloomy overtones, blurring the frontier between the organic and the synthetic. This is how you could describe a certain slice of Paris' contemporary musical underground, spearheaded by DIY producers and leftfield labels alike. This episode of IndieRE, produced by Radio Campus Paris in collaboration with Planisphère, shines light where darkness lingers, namely in the music of Morfine, Didem Coskunseven and the duo Omer. Morfine is one of the aliases of Estelle Morfin. Combining activities as an artist, radio host, DJ, label founder and journalist, she has released two EPs under the name Roman Delore, as well as the album Blinding Nights as Morfine. Didem Coskunseven is a composer, sound designer and musician from Istanbul who studied composition at the University of California in Berkeley. Now based in Paris, she studies composition and computer music at Ircam while creating works as influenced by modal jazz than by contemporary ambient music. Omer is the duo of Tristan Hamelin Foulon and Jason Bancilhon. On their first album Polyphon, they translate bird song into a score, put a piano through autotune and experiment with musical traditions ranging from Erik Satie to German industrial pioneers Einstürzende Neubauten. Created in 2018 with the goal of bringing into the spotlight up-and-coming artists of the experimental music scene, Planisphère organises underground events and releases albums and EPs by new and inventive artists. While experimentation is a guiding principle in sound as well as image, their aesthetic spectrum is deliberately large. Abrasive techno sits alongside intimate folk, ambient and noise neighbour jazz and space rock. 1. Morfine – Shapes 2. Morfine – Dark Stars 3. Morfine – Credo 4. Didem Coskunseven – Ext.thewoods.night (interpreted by Ensemble Nikel) 5. Omer – Pièce pour Automate 6. Omer – Les danseuses 7. Omer – Huit heures douze * Produced by Radio Campus, Paris. * Prepared, produced, mixed and announced by Philipp Fischer. Morfine & Didem Coskunseven interviews by Philipp Fischer, with additional questions by Eglantine Laval. Omer interview by Luc Bydon and Matthieu Turcq. * Design by Jure Anžiček. # IndieRE - Independent Radio Exchange Was macht die lokale Musikszene Sevillas aus? Vor welchen besonderen Herausforderungen stehen Nachwuchskünstler:innen in Budapest angesichts der dortigen politischen Situation? Welche Verbindungen und Gemeinsamkeiten lassen sich zwischen der Independent Musikkultur in Graz, Halle und Dublin finden und was unterscheidet sie? Welchen Spielraum haben alternative Künstler:innen in der heutigen digitalen Musikindustrie? Mit solchen und weiteren Fragen werden sich Radio Študent aus Ljubljana, das Netzwerk verschiedener französischer Uniradios namens Radio Campus, Radio CORAX aus Halle (Saale), EMA-RTV aus Sevilla, Radio Helsinki aus Graz, Near FM aus Dublin, Radio Student aus Zagreb und Civil Radio aus Budapest beschäftigen. Gemeinsam arbeiten sie dafür im Rahmen des EU-Projekts "Independent Radio Exchange" für die nächsten zwei Jahre zusammen. * https://indiere.eu/

Mardi 9 janvier 2024, SMART TECH reçoit Jean-Paul Smets (PDG, Rapid.Space) , Michel Hassan (cofondateur, SWYTOUCH) , Willy Toureau (mainteneur, HA Proxy) , Philippe Esling (chercheur, IRCAM) et Faustine Fleuret (Présidente et Directrice Générale, Adan)

In May of 1983, the world of synthesizers and electronic music as we knew it would change forever with the launch of the Yamaha DX7. To celebrate 40 years since its launch, Rob Puricelli spoke to Dr John Chowning, the developer of FM synthesis, Dave Bristow and Gary Leuenberger, sound designers for the original DX7 and Manny Fernandez, who has worked on all Yamaha's FM projects from the Mk.II DX7 through to today's Montage M series.See the Show Notes for further details.Chapters00:00 - Introduction01:55 - First Experiences Of The DX712:49 - Did The DX7 Meet Expectations?16:57 - The Feedback Loop17:51 - Creating And Sharing Sounds22:47 - A Career From Creating Patches27:55 - Sound Design Using FM31:36 - Hearing Your Own Sounds34:26 - Working With Don Lewis44:26 - Demonstrating The DX757:00 - FM Synthesis 40 Years On01:07:12 - Formant Shaping And The Future Of FMDr John Chowning BiogBorn in Salem, New Jersey in 1934, John Chowning spent his school years in Wilmington, Delaware. Following military service and four years at Wittenberg University in Ohio, he studied composition in Paris with Nadia Boulanger. He received a doctorate in composition (DMA) from Stanford University in 1966, where he studied with Leland Smith. Chowning discovered the frequency modulation synthesis (FM) algorithm in 1967. This breakthrough in the synthesis of timbres allowed a very simple yet elegant way of creating and controlling time-varying spectra. In 1973 Stanford University licensed the FM synthesis patent to Yamaha in Japan, leading to the most successful synthesis engine in the history of electronic musical instruments.He taught computer sound synthesis and composition at Stanford University's Department of Music. In 1974, with John Grey, James (Andy) Moorer, Loren Rush and Leland Smith, he founded the Center for Computer Research in Music and Acoustics (CCRMA), which remains one of the leading centres for computer music and related research. Although he retired in 1996, he has remained in contact with CCRMA activities.Chowning was elected to the American Academy of Arts and Sciences in 1988 and awarded the Honorary Doctor of Music by Wittenberg University in 1990. The French Ministre de la Culture awarded him the Diplôme d'Officier dans l'Ordre des Arts et Lettres in 1995. He was given the Doctorat Honoris Causa in 2002 by the Université de la Méditerranée, by Queen's University in 2010, Hamburg University in 2016, and Laureate of the Giga-Hertz-Award in 2013.Dave Bristow BiogDave was born in London and worked as a professional keyboard player recording and touring internationally with a variety of artists including Polyphony, Slender Loris, June Tabor, Tallis and 2nd Vision. Active in synthesizer development, he played a central role in voicing the Yamaha DX7 synthesizer and is internationally recognized as one of the important contributors to the development and voicing of FM synthesis, co-authoring a textbook on the subject with Dr John Chowning.He spent three years at IRCAM in Paris, running a MIDI and synthesis studio working with contemporary music composers and artists, then moving to the United States in the 1990's to work for Emu Systems, Inc. on sampling and filter-based synthesizers. In 2002, he began working again with Yamaha developing ringtones and system alert sounds for the SMAF audio chip series used in cell phones and mobile devices.He has been an instructor at Shoreline Community College teaching electronic music production and synthesis for ten years, but still finds plenty of time for composing and playing piano with RedShift jazz quartet and developing his interest in computer arts.Gary Leuenberger BiogGary started in music at a young age and, in 1975, founded G. Leuenberger & Co. in San Francisco. It soon became one of the world's largest retailers of pianos, synthesizers and electronic keyboards. In 1980 he started working with Yamaha as part of their product development team. It was through this that he was recruited, along with the likes of Dave Bristow and Don Lewis, to create the factory presets for the DX7. Gary's most famous, or infamous, patch was the legendary E.Piano 1 which became equally one of the most popular and despised sounds ever! Nevertheless, his association with Yamaha continued until 2000, at which point Gary went back into education, gaining his Bachelors of Music and Masters in Classical Piano Performance from San Francisco State University in 2007.Since then, he has taught electronic music at SFSU and gives private tutoring to budding musicians of all ages. Manny Fernandez BiogDr. Manny Fernandez has been involved in synthesizer programming and development with many manufacturers for over 35 years. Initially self-taught prior to traditional university study of analogue synthesis, in the late 1970's - early 1980's the emerging digital synthesis techniques caught his attention with their expanded timbral possibilities.He acquired a DX7 in the fall of 1983 and using Dr. Chowning's original academic articles as a guide began exploring FM synthesis in depth. In 1987 he began his relationship with Yamaha, programming for a wide range of their synthesizers through the years to the current Montage M. Acknowledged as one of the world's foremost FM synthesists and having extensive experience with physical modelling synthesis as well, his programming approach is to create unique and dynamic timbres with interesting yet useful real-time controller implementations.Rob Puricelli BiogRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners. He also writes reviews and articles for Sound On Sound, his website Failed Muso, and other music-related publications, as well as hosting a weekly livestream on YouTube for the Pro Synth Network and guesting on numerous music technology podcasts and shows. He also works alongside a number of manufacturers, demonstrating their products and lecturing at various educational and vocational establishments about music technology.www.failedmuso.comTwitter: @failedmusoInstagram: @failedmusoFacebook: https://www.facebook.com/failedmuso/ 

The last Vortex Temporum's episode of 2023 arrives from France, where Iranian born composer Sina Fallahzadeh (1981) lives and works. Sina shares with us some timeless thoughts on life and music surgically wrapped in delicate sound.credits: sound material from Arche [2020] // Yasnâ [2019], for choir and electronics - commissioned by IRCAM and Estonian Philharmonic Chamber Choir // Métanoïa [2019], for baritone, ensemble and electronics, commissioned by IRCAM and Ensemble l'Itinéraire. vortextemporum.com

“I don't know if in Canada or in the States the sounds are different, but here, Toyota, for instance, is very abstract, high-pitched, it's a bike or like 'peeeeee,' like this, for instance. The Renault is more reassuring, more warm, it's welcoming, it's a little bit more, you know, it's less cold than other sounds.""Sure, yeah. Well, I guess maybe if it doesn't focus specifically on the sound of the engine, but even the engine sounds have been changing over the years right, yes. They're getting, like you said, they're getting softer or they're getting electric." “Yeah, absolutely” -- Andrea Cera My next guest is an Italian sound designer and composer, classically trained in piano and composition, along with extensive learning in computer music. Since 1998 he's created over 40 soundtracks for contemporary dance and theatre works. He's collaborated with the prestigious Casa Paganini – InfoMus, a research center and university in Genova, on research projects about cross-modality and human movement sonification, and a few years ago he began a collaboration with IRCAM and Renault for the design of external electric car sounds, from Renault Zoé to the new E-Tech 2022.His name is Andrea Cera and if you'd like to know more about designing sound for a purpose, he's definitely the right person to ask. We'll cover both sides of the coin, from subtle soundscapes and ambiance to aggressive music and even using noise as art. It's a fascinating discussion, so stay tuned!As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available and access to a resource called The Studio with lots of interesting sound-related mp3s, videos, educational pdfs, and exclusive discounts from previous guests. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that. (0:00:01) - The Power of SoundAs the episode begins, we talk about sound's power to move its listeners, to spark powerful emotions like excitement and fear, and even, in one case that Andrea recalls, to stop a riot. "There is one moment," he says, recounting the infamous 1969 Altamont Free Concert, "where The Thirteenth Floor Elevators play, and the girl who sings, they see a riot, and she starts calming the people, and she has this, like, in, I don't know, ten seconds. She talks like with your tone, like this, and the riot stops."He also tells us about how the power of sound first inspired him as a young man when, while working in the theater, he saw for himself the effect his music and sound design had on audiences. “And it was around that age,” Andrea explains, “that I really started to say, wow, I mean, what you learn studying composition really works in a kind of subconscious way” He also explains his philosophy when it comes to sound design, and how, when it comes to audio, less is often more: “For me, design is distillation, it's taking away and just using the minimum necessary to convey a sensation.” (0:12:25) - Car Sounds and Branding EvolutionOur conversation turns to Andrea's sound design work with electric and self-driving vehicles, and the challenge of holding a driver's attention in what might...

INDIE-RE #85 BY RADIO CAMPUS PARIS (FRANCE) Mellow sounds with gloomy overtones, blurring the frontier between the organic and the synthetic. This is how you could describe a certain slice of Paris' contemporary musical underground, spearheaded by DIY producers and leftfield labels alike. Tonight's episode of RadioMuse, produced by Radio Campus Paris in collaboration with Planisphère, shines light where darkness lingers, namely in the music of Morfine, Didem Coskunseven and the duo Omer. Morfine is one of the aliases of Estelle Morfin. Combining activities as an artist, radio host, DJ, label founder and journalist, she has released two EPs under the name Roman Delore, as well as the album Blinding Nights as Morfine. The first song you're about to hear is called Shapes. Didem Coskunseven is a composer, sound designer and musician from Istanbul who studied composition at the University of California in Berkeley. Now based in Paris, she studies composition and computer music at Ircam while creating works as influenced by modal jazz than by contemporary ambient music. Omer is the duo of Tristan Hamelin Foulon and Jason Bancilhon. On their first album Polyphon, they translate bird song into a score, put a piano through autotune and experiment with musical traditions ranging from Erik Satie to German industrial pioneers Einstürzende Neubauten. Created in 2018 with the goal of bringing into the spotlight up-and-coming artists of the experimental music scene, Planisphère organises underground events and releases albums and EPs by new and inventive artists. While experimentation is a guiding principle in sound as well as image, their aesthetic spectrum is deliberately large. Abrasive techno sits alongside intimate folk, ambient and noise neighbour jazz and space rock. FB : facebook.com/planisphere.sound IG : instagram.com/planisphere.sound BC : planispheresound.bandcamp.com SC : soundcloud.com/planispheresound MC : mixcloud.com/Planisphère FEATURED ARTISTS/PRODUCERS (WITH LABELS) OR FEATURED LABELS: MORFINE https://morfine.bandcamp.com/album/blinding-nights DIDEM COSKUNSEVEN https://soundcloud.com/didemcoskunseven OMER https://planispheresound.bandcamp.com/album/polyphon PLAYLIST: 1. Morfine – Shapes 2. Morfine – Dark Stars 3. Morfine – Credo 4. Didem Coskunseven – Ext.thewoods.night (interpreted by Ensemble Nikel) 5. Omer – Pièce pour Automate 6. Omer – Les danseuses 7. Omer – Huit heures douze RADIO & COUNTRY: Produced by Radio Campus Paris (France) Prepared, produced, mixed and announced by Philipp Fischer. Morfine & Didem Coskunseven Interviews : Philipp Fischer, with additional questions by Eglantine Laval. Omer Interview : Luc Bydon and Matthieu Turcq.   Philipp Fischer is the co-founder, with Luc Bydon and Matthieu Turcq, of the Paris-based experimental music label Planisphère. Also active as an artist and music journalist, he is the head of programmes of Radio Campus Paris. Radio Campus Paris https://www.radiocampusparis.org ------------------------------------------------------ INDEPENDENT RADIO EXCHANGE - INDIERE IndieRE is a project co-funded by the Creative Europe programme of the European Union https://indiere.eu ------------------------------------------------------ RADIO CAMPUS FRANCE Radio Campus France est le réseau des radios associatives, libres, étudiantes et locales fédérant 30 radios partout en France. NOUS SUIVRE | FOLLOW US www.radiocampus.fr Insta @radio_campus TW @radiocampus FB @radiocampus NOUS ÉCOUTER | LISTEN Site, webradios et podcasts www.radiocampus.fr

L'intelligence artificielle permet de cloner et de magnifier des voix humaines. Quel risque en matière de désinformation ou de cybercriminalité ? Quel danger pour les professionnels de la voix comme les chanteurs ou les comédiens ?  La possibilité de générer des voix hyper réalistes, existantes ou non, grâce à l'intelligence artificielle ouvre d'étonnantes perspectives. Par exemple : la possibilité de synthétiser des voix célèbres ou de doubler facilement des contenus vidéo. Cependant, cela soulève de nombreuses questions de propriété biométrique, de désinformation ou encore des risques de cybercriminalité.Les comédiens risquent-ils de se faire « voler » leur voix ? Devrons-nous un jour protéger notre voix ? 

Au sommaire : IA et clonage vocal, sonnettes vidéo intelligentes, brevets technologiques, Meta accusé de nuire à la jeunesse, 23andMe piraté, taxis robots interdits à San Francisco, Keynote surprise d'Apple, processeur PC "révolutionnaire" signé Qualcomm. ----------- L'ACTU TECH DE LA SEMAINE - Meta poursuivi par une quarantaine d'Etats américains pour ses réseaux jugés trop addictifs (02:16) - ADN : les données de millions de clients de la société 23andMe piratées (04:25) - Les taxis robots Cruise interdits de circuler à San Francisco suite à un accident avec un piéton (06:55) - Apple annonce une keynote surprise pour le 30 octobre (08:40) L'INNOVATION DE LA SEMAINE - La marque Qualcomm annonce un nouveau processeur pour PC censé rivaliser avec les puces d'Apple (10:35) LE DEBRIEF TRANSATLANTIQUE (Avec Bruno Guglielminetti du podcast Mon Carnet) - Un an après sa reprise par Elon Musk, qu'est devenu X (Twitter) et où va-t-il ? (14:44) LES INTERVIEWS DE LA SEMAINE - Nicolas Obin, Maître de conférence Sorbonne Université et chercheur à l'IRCAM, spécialiste du son, décrypte les perspectives et les enjeux de la révolution du clonage vocal par intelligence artificielle (27:14) - Laurent Brisedoux, Directeur R&D Computer Vision chez Ring, présente les dernières avancées en matière de sonnettes vidéo intelligentes pour la maison (38:23) - Lyse Brillouet, directrice de la propriété intellectuelle (CIPO) chez Orange, évoque l'importance des brevets dans les entreprises technologiques [PARTENARIAT] (44:10) Bonne écoute !  * Mots-clés : ADN, Apple, brevets, clonage vocal, domotique, IA, innovation, Ircam, Keynote, maison connectée, Meta, Musk, PC, processeur, Qualcomm, sonnettes vidéo, Sorbonne, taxis robots, technologies, Twitter, X. ---------------------

“L'audition est l'un des sens les plus directs vers la centrale des émotions du cerveau. Quelqu'un qui a envie d'acheter un parfum ne peut pas toujours aller en magasin. D'où l'importance de créer des empreintes sonores pour raconter l'intention du parfumeur”. Laurent Kretz rencontre Jean-Yves Le Porcher et Alexis Botaya, respectivement Directeur de l'expérience sonore et Directeur marketing et développement d'Ircam Amplify. Ircam Amplify utilise les technologies développées par le laboratoire de recherche pour répondre aux besoins du marché et aider à vendre mieux grâce au son. Ensemble, ils se questionnent sur la pertinence de créer des expériences sonores originales et différenciantes, et explorent l'avenir du son en e-commerce et en retail. Dans ce nouvel épisode du Panier, vous trouverez des clés pour : Orienter une expérience de dégustation ou de consommation grâce au son [03”00]; Mettre des mots sur des sons pour faciliter la communication entre les marques et les designers sonores. [16”00] ; Augmenter l'intention d'achat de 40 % avec le bon son [20”55] ; Créer une signature sonore homogène pour renforcer sa love brand [32”07] ; Miser sur un rythme lent pour garder l'utilisateur, et rapide pour qu'il réalise un achat impulsif [37”40] ; Décrypter l'avenir du son et explorer une utilisation vertueuse de l'IA [43”50] ; Multiplier les lieux d'écoute pour profiter du son dans différentes conditions [48”20]. Pour en savoir plus sur les références abordées dans l'épisode : #233 - EKOO ; L'audio, le nouvel eldorado pour vendre mieux Les champagnes Krug L'étude du British Journal of Psychology sur l'impact du son sur la dégustation. La marque de chocolat Hugo et Victor La plateforme Speak de l'Ircam L'aide d'Adobe pour adopter l'IA de manière vertueuse Et quelques dernières infos à vous partager : Suivez Le Panier sur Instagram @lepanier.podcast ! Inscrivez- vous à la newsletter sur leanier.io pour cartonner en e-comm ! Écoutez les épisodes sur Apple Podcasts, Spotify ou encore Podcast Addict Le Panier est un podcast produit par CosaVostra, du label Orso Media.

Pour découvrir l'épisode en entier, écoutez l'épisode 251, disponible dès le 06/10/23 sur votre plateforme d'écoute.

Argentinoje ir Britanijoje studijavęs Alejandro Viñao (g. 1951) didelę laiko dalį praleidžia Prancūzijoje, kur dirba IRCAM, GRM ir Buržo elektroninės muzikos studijose. Jis laikomas vienu geriausiu elektroakustinės terpės morfologų, virtuoziškai įvaldžiusių nepaliaujamos tembrinės metamorfozės procesą. Viñao muzikai būdingos pulsuojanti ritmika ir melodinė melizmatika, pasiskolinta iš neeuropinių muzikos kultūrų.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

A pioneer in the use of computers in performance since the late 1970s, Neil Rolnick's music has been performed around the world and appears on 22 commercial recordings. Born in Dallas in 1947, he earned a bachelor's degree in literature from Harvard and a PhD in music composition in 1980 from UC Berkeley. He went on to develop the first integrated electronic arts graduate and undergraduate programs in the US, at Rensselaer Polytechnic Institute and, and has lived in New York City since 2002. On the podcast, we talk about his use of sampling from the 1970s to today, his involvement in the first-ever live computer-music performance at IRCAM in 1978, and his recent release of music for piano and electronics on Other Minds Records, Lockdown Fantasies. Music: A Robert Johnson Sampler by Neil Rolnick, performed by Neil Rolnick (Centaur Records); WakeUp by Neil Rolnick and Felice and Boudreaux Bryant, performed by Neil Rolnick (Innova Recordings); O Brother! by Neil Rolnick, performed by Neil Rolnick (Innova Recordings); Journey's End by Neil Rolnick, performed by Kathleen Supové (Other Minds Records); Lockdown Fantasies by Neil Rolnick, performed by Geoffrey Burleson (Other Minds Records) Follow Neil on Facebook, Instagram, and Twitter. neilrolnick.com Follow us on Facebook, Instagram, and Twitter. otherminds.org Contact us at otherminds@otherminds.org. The Other Minds Podcast is hosted and edited by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

This episode is sponsored by Berlin-based pro-audio company HOLOPLOT, which features the multi-award-winning X1 Matrix Array. X1 is software-driven, combining 3D Audio-Beamforming and Wave Field Synthesis to achieve authentic sound localisation and complete control over sound in both the vertical and horizontal axes. HOLOPLOT is pivoting the revolution in sound control, enabling the positioning of virtual loudspeakers within a space, allowing for a completely new way of designing and experiencing immersive audio on a large scale. To find more, visit holoplot.com. In this episode of the Immersive Audio Podcast, Monica Bolles is joined by the musician and Senior Sound Technologist at Meow Wolf - Les Stuck from New Mexico, US. Les began working in spatial audio while working for the Ensemble Modern and the Frankfurt Ballet in Frankfurt, Germany. He designed the touring six-channel sound system for Frank Zappa's Yellow Shark Tour, which included a 6-channel ring microphone. He then worked at IRCAM in Paris, where he built several spatializers in Max/FTS - a 6-channel version for Pierre Boulez's ...explosante-fixe... premiere, an unusual 8-channel version specifically adapted to classical opera houses for Philippe Manoury's opera 60e Parallèle, and a signal-controlled panner that allowed extremely fast movement. He designed a 7-channel sound system at Mills College that featured an overhead speaker and built a variety of spatializers for students and guest composers. To celebrate the 50th anniversary of John Chowning's seminal work on the digital simulation of sound spatialization, Les realized a version of his algorithm for release with Max/MSP in 2021, including panned reverb and the Doppler effect, all controlled at signal rate. Currently Les works at Meow Wolf, where he designs interactive sound installations and acoustical treatments. He has developed several spatial plugins for Ableton Live, which typically include a binaural output to preview the results in headphones before going on-site. He led a collaboration with Spatial, Inc for Meow Wolf's installation at South by Southwest, and did extensive testing of Holoplot speakers for a future Meow Wolf project. Les talks about his extensive career, working with spatial audio since the 1980s, including projects with Frank Zappa, IRCAM, Cycling74, and we dive into the topic of interactive spatial audio for physical installations. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to https://immersiveaudiopodcast.com/episode-82-les-stuck-meow-wolf/ If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

Vous avez développé un produit innovant ou juste une idée audacieuse, mais vous manquez d'un cadre pour avancer ? Rejoignez les Trophées Europe 1 et rencontrez des coachs, des investisseurs ou des responsables d'incubateurs qui vous donneront toutes les clés pour réussir. Envoyez-nous votre candidature à E1-lafrancebouge@europe1.fr et vous serez peut-être bientôt sur notre antenne !

Kaija Saariaho was a force to be reckoned with in the new classical music world: an innovator in so many ways while maintaining the highest musical integrity. From her early work at IRCAM to her operas and the many works she wrote for ensembles large and small, Saariaho developed a distinctly individual voice that was instantly recognizable. We mourn her premature death as it is truly a loss to the musical community. May she rest well now and may we remember her through her art. 

Monrealyje gyvenantis Serge'as Provost (g. 1952) laikomas vienu aktyviausių savo kartos Kvebeko kompozitorių. Stipriai paveiktas prancūziškosios elektroakustinės muzikos tradicijos – studijavęs Paryžiuje ir IRCAM, – jis išsaugojo originalų balsą. Provost kūrybai inspiracijų teikia jo pianistinė ir vargoninė praktika, domėjimasis nevakarietiškomis kultūromis, dažnos kelionės į Veneciją ir Slovakijos kalnus, Šiaurės dangus ir atsiskyrėliškas gyvenimo būdas.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis.

Grâce à l'intelligence artificielle, Le Monde et l'IRCAM ont reconstitué une version audio du célèbre discours de l'appel du 18 juin qui n'a jamais été enregistré. Le résultat est étonnant !

C'est l'un des plus grands discours français de l'histoire et pourtant il n'a jamais été enregistré. Le Monde a tenté de recréer le mythique Appel du 18 juin, en clonant la voix du général de Gaulle. Un défi inédit, réalisé grâce à un outil développé par l'institut français de recherche en acoustique (Ircam) et Ircam Amplify, assisté par l'intelligence artificielle. Un défi au croisement de l'histoire et de la technologie, pour interroger la puissance et les limites de l'intelligence artificielle, et des deepfake audio. À quoi ressemblait l'appel du général de Gaulle ? Qu'ont pu entendre les Françaises et les Français qui l'ont capté ce jour-là ? Encadré par des historiens et des chercheurs en éthique, Le Monde a tenté de s'approcher de ce qu'a pu être l'appel du 18 juin 1940 grâce à la documentation historique, à une interprétation sur-mesure du comédien François Morel et aux nouvelles technologies de synthèse vocale, assistées par l'intelligence artificielle. Une collaboration entre Le Monde, l'institut de recherche et coordination acoustique/musique (Ircam) et la société technologique Ircam Amplify. --- Send in a voice message: https://podcasters.spotify.com/pod/show/damien515/message

"What was striking to me about the field recording was the different layers of sounds.  Although I can't say for sure what the sounds are, I could hear (at least) water, the boat, different animals, different kinds of electronic static.  To separate these different layers, I used the tool spectral clipping in TS, an Ircam sofware. "I then organized all of the layers in Ableton Live, where I used very minimal automation to shape the sounds.  The lower frequency bands I could use as a bass beat, and the higher ones I could use as melody.  I wanted the composition to be solely made from the field recording and to center the given sounds since the field recording is already incredibly complicated and mesmerizing, but also have a little fun." Narwhal reimagined by Julie Zhu. Part of the Polar Sounds project, a collaboration between Cities and Memory, the Helmholtz Institute for Functional Marine Biodiversity (HIFMB) and the Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research (AWI). Explore the project in full at http://citiesandmemory.com/polar-sounds.  IMAGE: Creative Commons CC0 1.0 Universal Public Domain Dedication ("CCO 1.0 Dedication”), New York Public Library

Révélée en 2016 sur le label InFiné avec Klabb, suivi du remarquable Khonnar, Deena Abdelwahed a fait ses armes dans les clubs underground de Tunis au sein du collectif World Full Of Bass, avant de rejoindre les rangs du collectif Arabstazy. Adepte d'une techno brute, expérimentale, turbulente, sombre et iconoclaste, Deena Abdelwahed avance depuis sans compromis, composant le futur de l'avant-garde électronique à chaque nouvelle production et répondant en écho à Pierre Boulez lorsqu'il disait “il faut aussi rêver sa révolution, pas seulement la construire.” Au terme de sa résidence à l'IRCAM, Deena Abdelwahed présentera en live, ce samedi 14 janvier à 22h30, le fruit de ses recherches soniques autour de la microtonalité de la voix et des percussions digitales pour le second volet de la soirée Electro-Odyssée dans le cadre du programme Ircam en Fête. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

As part of Radio 3's New Year New Music, Kate Molleson talks at length to one of the 21st-century's leading creative artists – the Finnish composer Kaija Saariaho. Celebrating her 70th birthday this year, Kaija describes music as a study of self and the human spirit. Kate meets her at home in Paris where she reflects on her life in music, describing the the conviction with which she pursued compositional classes with Paavo Heininen at the Sibelius Academy, and the distinctive musical style she developed as a result. Kate hears how Saariaho found herself in the musical milieu of Paris and the draw of the city's research institute for music and sound, IRCAM, where she cemented her place on the world stage with a dazzling work for small chamber orchestra and electronics inspired by the aurora borealis, Lichtbogen (1986). She tells Kate too about the challenges of writing her opera Innocence, whose subject matter deals with the legacy of trauma surrounding a shooting in a Finnish International School, and the inevitability of embodying the emotional pain of the story's characters during the composition process. And as 2023 commences, Kate is joined by the Managing Director of the London Symphony Orchestra, Kathryn McDowell, and the music journalist and author, Norman Lebrecht, to discuss the major challenges and opportunities awaiting the musical world in the year ahead.

Atlantis II: “Astralia 1” (@ 0:00) — Welcome — Sky Flowers — Installation and album — Part of the main exhibition Flowers of Change — Roppenheim The Style Outlets — Village of brands — Consumerism and art — Sky Flowers: “Clouds Above” part 1 (@ 3:26) — The street — Special mental place — Senses — QR code — Sky Flowers: “Clouds Above” part 2 (@ 6:13) — Relaxed with beautiful things — Unusual — Strong reactions — Atlantis Evolution: “Memories of Atlantis (Reprise)” (@ 9:26) — Like a second exhibition — Deo Gratias: “Panthalassa” (@ 11:23) — Darkness — Gratitude for sight — Dragon Lore II: “Into the Legend” (@ 13:50) — Healthy effect — Experiences at the Isturitz caves — Music in Penumbra — The complete experience — Sky Flowers: “Pluie d'Étoiles” (@ 18:18) — Silence, negative space, pauses — “Wall of Sound” — Atlantis: The Lost Tales: “Spitzberg” (@ 21:32) — Active listening — Freedom — Obscura: “Lux Perpetua part 1” (@ 24:41, feat. Alyssa Landry) — Hot in Paris — Fan — Context and information — Ambience — Music for two new games — Scenario like in The Last of Us (2013) — Sound design first — Obscura: “Libera Me” (@ 27:41) — FPS (First-Person Shooter) example — Music matching actions and feelings — Applying new knowledge — Atlantis Evolution: “Life Cycle” (@ 32:06) — New directions — Being outside — Also psychological — Reactions — Moving quote — Joy — Peaceful — Plastic pollution — Connectedness — Dragon Lore II: “The Last Valley” (@ 37:33) — Picnic — Lying down outdoors — The sky — Clouds — Childhood — Sky Flowers: “Pareidolia” (@ 42:11) — Layers of speed — Landmarks — Anchors of health — Dragon Lore II: “Troubadour Song” (@ 48:58) — Negative or positive — Being in the here and now — Atlantis: The Lost Tales: “La Tisseuse de Destins” (@ 51:09, feat. Alyssa Landry) — Intense art — David Lynch — Twin Peaks season 3 — Dark relaxing — Dracula: “Gothic Love” (@ 54:29) — Dystopian and utopian — Being outside of both when doing things — Garden — Learning from nature — Atlantis Evolution: “Utopia” (@ 57:11) — Silence — Ways of understanding it — John Cage anecdote — Anechoic chamber — Pierre's same experience — IRCAM in Paris — Birdsong — Animals in the garden — Bamboo: “Esprit de la Forêt” (@ 1:00:34) — Recording and sounds of technology — Planes and field recordings for Atlantis II in Ireland — Post-production — Atlantis II: “Highlands” (@ 1:03:34) — At the lake — Recording not simple — Water — L'Île d'Yeu — Special way of recording water — Atlantis II: “Return to Atlantis” (@ 1:08:05) — Biomimicry — Janine Benyus — Interaction of an ecosystem — Systemic — Forest — Atlantis Evolution: “The Village” part 1 (@ 1:10:55) — Instruments and associations — Accordion — Madagascar — Atlantis Evolution: “The Village” part 2 (@ 1:13:23) — Couples dance music — My parents — Resonant frequency — Composing in situ — Genii loci — Atlantis II: “Places in a Ring” (@ 1:17:16)

Notre Dame + Centre PompidouBy placing listening devices on the surfaces of built and natural monuments, artist Bill Fontana captures uncanny natural music that reveals that these bodies are alive with sound. Fontana's latest project amplifies the voice of Notre Dame. Since the devastating fire of 2019, the ringing of the cathedral's bells has ceased. To create his new work, Silent Echoes, Fontana attached sensors designed to detect vibrations to each of the ten bells of Notre Dame. As the bells reverberate in response to the ambient sounds of Paris the live feed is transmitted to a series of speakers at the Centre Pompidou, creating a haunting, immersive sound sculpture. In this episode, Alcôve's Alisa Carroll interviews Fontana in San Francisco, and very special guest Davia Nelson of The Kitchen Sisters meets with Fontana in Paris. 

Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

In this episode we talk with Molly Bolten. Molly Bolten is multi-instrumentalist, composer, and professional audio producer.  We talk with Molly about her varied musical experience from church choir, to ircam in paris, to working as an editor for spotify.  You can find all of molly's music at her bandcamp site:  https://mollybolten.bandcamp.com/ You can support the podcast by subscribing to us on Patreon - https://www.patreon.com/FantasticTonesForHumanBones.  Follow us on twitter @tones_for.  Follow us on Instagram @ft4hb.  We greatly appreciate any and all support.  Thank you!

This 15th episode of the SIMM-podcast is a reflective one.  The main guest in this episode is sociologist Hartmut Rosa (16'30->45'54).  Lukas Pairon interviews him on his book ‘Resonance – A Sociology of Our Relationship to the World', but we also hear interviews with musicians Tom Pauwels (2'33->6'50), Chrissy Dimitriou (6'56->8'40), Michael Schmidt (8'46->14'40 + 23'20->24'35 + 28'56->31'10) and Filip Verneert (14'48->16'13).Hartmut Rosa is Professor of Sociology and Social Theory at the Friedrich-Schiller-Universität Jena, and director of the Max Weber Center for Advanced Cultural and Social Studies in Erfurt, both in Germany.Following his now classical ‘Social Acceleration', Hartmut Rosa invites us in his book ‘Resonance' to reflect on and consider the alternative relationship of being in resonance with the world.  It was first published in German in 2016 and later translated in different languages. The French translation appeared in 2018, and the English version was released in 2019.  Hartmut Rosa was the keynote speaker at the 7th international SIMM-posium organized from 12 to 14th December 2022 at the London based Guildhall School of Music and Drama, in collaboration with the Copenhagen Rhythmic Music Conservatory and the research network SIMM. The recording of his keynote can be found here on Vimeo and here on YouTube.Referenced during this podcast-episode: anechoic chamber, 'Breathcore' by Michael Schmidt, Luciano Berio's 'Sequenze', Anne Teresa De Keersmaeker, 'En Atendant' by Rosas, Morton Feldman's 'Crippled Symmetry', Stephen Greenblatt's 'The Swerve', Guildhall School of Music and Drama, Ictus, Ircam, Emmanuel Levinas, Emmanuelle Lizère, George Herbert Mead, Mozarteum, participatory sense-making, SIMM-research-seminar London (September 2022)contact: info@simm-platform.eu / www.simm-platform.eu

Chapters00:00 - Introduction01:43 - Hugues Vinet and IRCAM02:38 - How IRCAM Has Changed06:02 - Partners and Community09:03 - Music Styles and Technology10:56 - Working With Ableton12:56 - Musical Developments18:49 - Sound Design23:05 - Defining Sounds26:04 - Using Different Tools28:07 - AI DevelopmentHugues Vinet BiogHugues Vinet is Director of Innovation and Research Means at IRCAM, a world-leading institution associated with the Centre Pompidou in Paris, which is dedicated to music production and research. He has managed all research, development and innovation activities at IRCAM since 1994. He co-founded and ran for several terms the STMS (Science and Technology of Music and Sound) joint lab with the French Ministry of Culture, CNRS and Sorbonne Université. Hugues previously worked at the Groupe de Recherches Musicales of National Institute of Audiovisual in Paris, where he managed the research and designed the first versions of the award-winning real-time audio processing product, GRM Tools. He has coordinated many collaborative R&D projects, including recently H2020 VERTIGO in charge of the STARTS Residencies program managing 45 residencies of artists with technological research projects throughout Europe. Hugues is currently in charge of the artistic residencies program of the MediaFutures project. He also curates the Vertigo Forum art-science yearly symposium at Centre Pompidou, and participates in various experts bodies in the fields of audio, music, multimedia, information technology and innovation.Main Ircam site - https://www.ircam.frIrcam Lab Software - https://www.ircamlab.comFree Ircam Technologies - https://forum.ircam.fr/collections/detail/technologies-ircam-freeMusic Credits:Répons by Pierre BoulezL'esprit des dunes by Tristan MurailCôte des Bars - by sound designer Roque Rivas for Krug ChampagnePaul Tingen BiogPaul Tingen has been a contributor to Sound On Sound since 1990. In addition to his regular artist and producer interviews, he began writing the Inside Track: Secrets of the Mix Engineers series in January 2008.He is also the author of a book, Miles Beyond: the Electric Explorations of Miles Davis, 1967-1991 (Billboard Books), a producer, and a guitarist with one album to his name.Paul maintains two web sites: www.tingen.org and www.miles-beyond.com, and an Instagram page: @paultingenmusic

Guests Gaz Williams - Producer, bassplayer, music technologist Yoad Nevo - producer, mix engineer Waves Developer Youtube video version https://youtu.be/7CLeAvVj71E Preshow and adfree version on our Patreon.com/sonicstate Sign up for iZotope's Music Production Suite Pro for 24.99 a month, or Producers Club for $19.99 a month, and you get access to the most up-to-date versions of our plug-ins as well as the latest features and updates as they are released. No upgrade fees. And, you can tap into iZotope's expert knowledge with exclusive product tutorials and videos on mixing, mastering, and more. Head over to iZotope.com now to get a 7-day free trial.   SONIC 001 - an 18 Track Compilation Album from Sonicstate.com contributors available now via Bandcamp.  Around an hour of original songs and instrumentals showcasing the talents of some of our contributors. Fantastic value.  00:07:58 Spitfire Frozen Strings 00:25:18 Roland Aerophone AE-20 00:33:33 U-He Metaphorium 00:36:01 New Casio Synth AiX 00:43:54 Vangelis Eurorack Setup 00:51:16 IRCAM Where to Watch/Listen - We now stream the live show to Youtube Live, Facebook Live as well as at Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Mari Kimura is a violinist/composer and a leading figure in interactive computer music. Mari is world-renowned for Subharmonics—the production of pitches that sound up to an octave below the violin's lowest string—and her dynamic performances and as an improviser. She received numerous awards including Guggenheim Fellowship, Fromm Award, a residency award at IRCAM, and the grant from Rockefeller Brothers Fund. Her 2017 solo album Voyage Apollonian features her works for MUGIC®. Mari is a Professor of Music at the “Integrated Composition, Improvisation, and Technology” program at UC Irvine, where she developed MUGIC®. Music: KISMET by Mari Kimura, performed by Mari Kimura and Ensemble Decipher Follow Mari on Facebook, Instagram, and Twitter. marikimura.com Co-hosts: Chelsea Loew and Niloufar Nourbakhsh Follow us on Facebook, Instagram, and Twitter. ensembledecipher.com Contact us at decipherists@ensembledecipher.com. Decipher This! is produced by Joseph Bohigian; intro sounds by Eric Lemmon; outro music toy_3 by Eric Lemmon.

Laurent Le Bon, President of Musée Picasso in Paris at the time of interview, is now the President of the Centre Pompidou. The Musée Picasso holds over 5,000 of Spanish artist Pablo Picasso's artworks and tens of thousands of sketches, photos, and many scripts, making the collection an impressive and holistic representation of Picasso's career. Centre Pompidou houses the largest museum for modern art in Europe Musée National d'Art Moderne, a vast public library, and IRCAM, a centre for music and acoustic research. His curatorial practice has included curating 50 exhibitions for Centre Pompidou, Musée d'Orsay, Musée de l'Arte Moderne Versailles and others across France.· www.museepicassoparis.fr· www.creativeprocess.info

“Picasso is a symbol of the creative process.Always in metamorphosis. Always in transformation. Sometimes when you become wealthy and famous, you stop having the energy of the creative process, but if you see the whole span of his career, you have 50,000 works of art in all mediums. So the main mission of the museum is to display like a kaleidoscope, and we have always a new angle, a new direction.”Laurent Le Bon, President of Musée Picasso in Paris at the time of this interview, is now the President of the Centre Pompidou. The Musée Picasso holds over 5,000 of Spanish artist Pablo Picasso's artworks and tens of thousands of sketches, photos, and many scripts, making the collection an impressive and holistic representation of Picasso's career.Centre Pompidou houses the largest museum for modern art in Europe Musée National d'Art Moderne, a vast public library, and IRCAM, a centre for music and acoustic research. His curatorial practice has included curating 50 exhibitions for Centre Pompidou, Musée d'Orsay, Musée de l'Arte Moderne Versailles and others across France.· www.museepicassoparis.fr· www.creativeprocess.info· www.centrepompidou.fr/en/

本期嘉宾是毕业于美国印第安纳大学雅各布音乐学院和巴黎IRCAM电子音乐中心的魏濛，节目围绕着他的新唱片《Sink》，来聊聊他的音乐。