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Page 298 ï~~The Center for Computer Music Research and Composition University of California, Santa Barbara Studio Report JoAnn Kuchera-Morin, Douglas Scott (firstname.lastname@example.org, doug@ foxtrot.ccmrc.ucsb.edu) Abstract This paper presents the new and important developments that have taken place in the Center since our last studio report at the 1989 ICMC. The current studio configuration will be-discussed, with descriptions of the hardware and software in use at this time, followed by proposals for future development. The paper will conclude with an outline of recent research and compositional achievements at the Center, including guest composer residencies. The participants in the Conference presentation of this paper will be Dr. JoAnn Kuchera-Morin, Director, and Douglas Scott, Technical and Research Coordinator of the Center. Introduction The Center for Computer Music Research and Composition in the Department of Music at the University of California, Santa Barbara is dedicated to professional composition with multi-media, multi-cultural emphasis, and research in digital signal processing. Its purpose is to make available to students, faculty and professional composers a flexible and productive environment for the composition and realization of music involving computers and digital sound equipment. The Center serves as a laboratory for research and development of new software and hardware tools to aid in computer music composition. The following report explores the goals of this facility, tying in the facility design, hardware, software, project development and programs relating to these goals. The CCMRC's studios are designed to extend research in technology to encompass many different aspects of the arts. Professional composition remains the facility's main artistic function, with the goal of creating residencies for renowned guest composers. Research and development of software and hardware to facilitate artistic production and expansion of multi-media applications is essential to the forward progress of the Center. Research involving collaboration with industry is helping to advance software and hardware development by integrating larger direct digital systems with smaller real-time applications, thus facilitating composition. Development of the above areas will allow for an advanced educational environment for the composer/researcher who completes their studies at this facility. The Direct Synthesis Studio The Direct Digital Synthesis Studio comprises four rooms. The Office Studio contains a Sun 3/160 workstation that serves as our gateway to the University's ethernet backbone, and a NeXT "cube" that functions as the fileserver for our four other NeXT workstations. This machine is equipped with 64 megabytes of RAM and an 1.3 gigabyte internal hard drive. The Classroom Studio contains another of our NeXT workstations and an Apple Mac II, plus four terminals through which the students may access any of the machines on the network. This room also functions secondarily as a MIDI studio, with both of the above computers being used to control the MIDI equipment. The Private Studio is a small room equipped with a NeXT "turbo" workstation with a color monitor. The Soundroom Studio is the central workspace for the Direct Digital Synthesis Studio, and contains a Sun 4/330 server and a NeXT workstation. The Sun server is equipped with two extra hard disks that add 2.3 gigabytes of storage to our network, and also serves as our main digital recording and playback unit. This was made possible by the addition of the Audio Digital Systems Audio Controller Board, which will be described in the section on new additions. The Soundroom Studio itself was constructed on raised floating floor slabs, and is used for four-channel near-field monitoring of digital signals and close-miked analog to digital recording. 298
Page 299 ï~~The New Integrated Studio Arrangement Classroom Studio,.,..,:.,... am.. - Ethernet I Office Studio Ethernet wi u.,,.- Backbone U n 1.3 Gb. th ernet Ethernet am-m Soundroom Studio - " - " -- " -~ I - " L b l. - - - - - - - " - - " - - - - " - Ethernet I m -,, -Ethernet- -m, - 1.3 Gb. 1.0 Gb. Ethernet Private Studio m mm * m m mm mm mm mm mm m m m m M - M m m mm m U Real Time Recording & Monitoring Studio mm -m U n m m Ethernet AudioFrame A Ethernet Ethernet I,1..Mac.... MIDI Equipment 299
Page 300 ï~~The Real-Time Recording and Monitoring Studio The Real-Time Recording and Monitoring Studio comprises two rooms separated by glass for visual recording capabilities. These two rooms are constructed exactly on the same principle as the Soundroom Studio and contain digital post-processing equipment, MIDI controlled digital synthesizers, and multi-track recording facilities. The central component of this studio is the AudioFrame digital audio workstation. Manufactured by the WaveFrame corporation in Boulder Colorado, the AudioFrame features a 64 channel digital audio bus at 44.1 kHz sampling rate through which samplers, DSP boards, and converters communicate. The configuration in our Studio consists of a 16 voice sampler with 16 Meg of memory and 2.4 gigabytes of hard disk storage, a DSP board with four Motorola 56000 chips, two channels of A/D, eight channels of D/A, and an eight-track hard disk recorder. This unit is connected through the TOPS network to a 386 PC that serves as its front end. This studio also contains a NeXT workstation and an Apple Mac II, which are used for MIDI and digital sound processing. The unification of our two studios has now been completed via the networking of the 386 machine to the array of UNIX computers in the Direct Digital Synthesis Studio, thus providing students, faculty, and guest composers and research personnel with an integrated real time/MIDI/direct digital synthesis environment (see accompanying diagram). Software Capabilities In keeping with the integrated nature of our computer network, all software used for the creation and processing of digital sound is shared between machines. Traditional command-line-driven packages such as MIT's Csound, CARL's Cmusic, and Princeton's Cmix are available, and have been adapted to read and write a common soundfile format on both the NeXTs and Suns. A large assortment of NeXT-specific programs (which takes advantage of the NeXT's window system) are also available for use. New graphics-interface software packages are being used and/or developed at CCMRC that are portable to a variety of UNIX machines, thereby making them viable tools for multi- architecture sites. Two of these, mixview and MiXViews (an object-oriented version of the former), developed by Douglas Scott, make use of the public domain X window system, and are in regular use at this time. Future Plans The completion of our computer network represents the beginning of a new phase of development for the Center. Having access to all the various digital sound hardware devices via the ethernet opens up vast possibilities for software packages that can use them simultaneously. The programs mentioned above will be expanded, and eventually will become sub-units within a multi-user, graphics-interface compositional software environment. This system will allow composers to synthesize, record, edit, process, and combine various digital sounds using a set of intuitive, visual-feedback tools. The Center will solicit the assistance of a variety of individuals from various institutions to help reach this goal. Among these will be software engineers, signal processing specialists, and most especially professional composers. Research and Creative Activities Creative activities at the Center included guest composer and performer residencies, concerts, festivals and lectures. New direct synthesis works, as well as real-time computer music compositions, were created by visiting composers, faculty and graduate students. In 1989/90 guests of the Center included Barry Vercoe, Professor of Media Arts and Sciences at MIT, who gave a lecture/presentation on Synthetic Listeners and Synthetic Performers, a talk examining the issue of and some current techniques for modeling rhythm and pitch perception, tracking live performers, synchronizing an accompaniment in real time, and learning from successive rehearsals. Composer Robert Morris, Professor of Composition at the Eastman School of Music, completed a four-channel digital mix of his computer-generated composition, Four or Five Mirrors, on the Audioframe real-time digital audio workststion. Composer Craig Harris completed his multi-media composition, In 300
Page 301 ï~~Delicate Balance, a commissioned work that was being realized at the Banff Center and the CCMRC at UCSB. Composer Elliot Scwartz was also in residence. In 1990/91, the Center held two concerts in conjunction with the Los Angeles Chapter of the Society for Electro-Acoustic Music in the United States. Guest Composers and Lectures in 1991/92 included Barry Schrader, Professor of Composition at California Institute of the Arts, who realized a composition on the Audioframe workstation, and Brad Garton, Professor of Composition and director of the Computer Music Studio at Columbia University, who discussed the use of LISP-based compositional software in his newest works. The Center, in conjunction with the Department of Music, held its First Annual New Music Festival, which featured electronic and acoustic works of renowned composer Milton Babbitt, who was the featured guest. Other participants included the festival's host William Kraft, Robert Morris, Steven Stuckey, Ciro Scotto and JoAnn Kuchera-Morin. Dr. JoAnn Kuchera-Morin, director of the facility, completed Concerto for Clarinet and Clarinets, a work for clarinet and computer-generated tape. The composition was realized on the UNIX-based network of machines at the Center, using CARL's Cmusic and processing programs, MIT's Csound, and IRCAM's mixing and processing programs. The work was commissioned by clarinetist Kelly Burke, and was premiered at the 1991 International Computer Music Conference in Montreal, Canada. The work has been performed throughout the United States. Her newest commission, for bass and tape, will feature cross-synthesis between the contrabass and the Australian Aboriginal instrument, the digeridu. Other faculty, staff and graduate artistic activities include Lecturer Marc Ainger's composition Lament, which was premiered at the 1992 SEAMUS Conference in Los Angeles and will be released on compact disc in September, and his multi-media work Ramparts for dancers, tape and computer-generated visuals, which was commissioned by Repertory West Dance Company. Technical Research Coordinator Douglas Scott completed his newest tape composition, Interlude and Fantasy, which will be premiered at the 1993 International Computer Music Conference in San Jose, California. Graduate student Charles Baker finished several works in the facility, including his tape piece, Hanshantao, which was premiered at the 1990 International Computer Music in Glasgow, Scotland. Computer scientist Frode Holm, who has been associated with the Center for the past three years, published two technical papers in the Spring 1992 issue of the Computer Music Journal: Machine Tongues XIV: CSP-Communicating Sequential Processes, and Understanding FM Implementations: A Callfor Common Standards. Education Two one-year sequence courses are offered annually in the facility to prepare the students for advanced individual work in music composition. Graduate courses in computer music composition, research, software development and collaboration with industry enhance interdisciplinary projects among the sciences and the arts. This provides fertile training ground for the next generation of musicians and engineers specializing in computer music applications. References Holm, F. 1992. "Machine Tongues XIV: CSP-Communieating Sequential Processes." Computer Music Journal 16(1). MIT Press. Holm, F. 1992. "Understanding FM Implementations: A Call for Common Standards." Computer Music Journal 16(1). MIT Press. 301