Page  00000001 Center for New Music & Audio Technologies: Studio Report Richard Andrews University of California, Berkeley Center for New Music & Audio Technologies (CNMAT) 1750 Arch Street Berkeley, CA 94709 USA Abstract The Center for New Music and Audio Technologies (CNMAT) is an interdisciplinary research center within the UC Berkeley Department of Music. The past year has seen a notable increase in live presentations at CNMAT, including concerts of original new music, lectures, seminars, receptions, workshops, and demonstrations by local and visiting scholars. The heightened degree of interaction has enlivened the exchange of artistic and scientific ideas within CNMAT's community, resulting in many new collaborations and research projects. 1. Introduction Activities at CNMAT are focused on the creative interaction between music and technology, particularly in the areas of composition and improvisational performance. CNMAT provides a common ground where individuals from music, cognitive science, computer science, mathematics, mechanical engineering, and other disciplines meet to share ideas and invent new tools for musicians and composers. 2. Facilities The newest addition to CNMAT's facility is the Sound Spatialization Theatre, an eight-channel sound system located in the main performance space. Working in collaboration with John Meyer of Meyer Sound Laboratories, the Spatialization Theatre combines the new Meyer HM-1 speakers and matching sub-woofers (specifically designed for spatialization applications) with a flexible speaker mounting infrastructure and spatialization software. This project has turned CNMAT's main room into a research space for studies in sound spatialization, a teaching laboratory for students, and a concert space for the presentation of electro-acoustic music that employs spatialization. The room has also been outfitted with a new Sharp XG-E3000Y LCD XGA projector, providing projection of images from all computer platforms and video formats. Other enhancements to CNMAT's general infrastructure include the installation of a 100Mb fiber connection and a switched FastEthernet router, a Silicon Graphics Octane, a complete Digidesign ProTools system, a workstation dedicated to graduate student composer/computer scientist teams, and numerous rackmount and other gear for signal processing and audio production. 3. Composition and Performance Program CNMAT presented a wide range of events this year for the campus community and general public. Many events featured premiers of works by local composers: 3.1 Beyond the Proscenium? This series of events was sponsored by the Doreen B. Townsend Center for the Humanities and included a concert, symposium, and technology demonstrations. Each presentation explored the uses of technology, location, and space in expanding the possibilities for music, art and performance in the 21st century. The concert featured the world premier of the complete Quadrivium cycle by Edmund Campion, (Click here to listen to un excerpt from Aironomia or Marimba and quadr phonic tpe - Dain Kenrnedy, Marimban plus Theme Park "Bang Zoom" by Alvin Curran. The symposium was comprised of Edmund Campion, David Wessel, and Margaret Wilkerson from UC Berkeley, Rene Lysloff of UC Riverside, Alvin Curran from Mills College, and artist Paul DeMarinis. David Wessel also demonstrated CNMAT's new Sound Spatialization Theatre. 3.2 Wessel/Shafqat/Wright Two concerts at CNMAT offered new music by Shafqat Ali Khan on vocals with David Wessel and Matt Wright using interactive computer instrumentation. Their highly improvisational work seeks to create a common musical framework informed by classical Indo-Pakisani music and employs many new performance tools developed at CNMAT. A paper on the preparations for these concerts is included in these proceedings. 300 PROCEEDINGS ICMC98

Page  00000002 3.3 San Francisco Contemporary Music Players Presented at the Center for the Arts at Yerba Buena in San Francisco, this evening of electro-acoustic music from around the world was a special collaboration between CNMAT and the San Francisco Contemporary Music Players. Highlights included Instabile by Nicolas Vdrin, Soleil Noir/Chitra by Jonathan Harvey, Noa Noa by Kaija Saariaho, Losing Touch by Edmund Campion, and Has/Had by Laetitia Sonami. 3.4 West Coast Electro-Acoustic Music Exchange Presented by the CNMAT Users Group and Vancouver Pro Musica, this series of concerts and lecture/demonstrations presented multi-channel electroacoustic music by San Francisco Bay Area and British Columbian composers and was held at UC Berkeley, the University of Washington, Portland State University, and the Western Front Lodge in Vancouver, British Columbia. Featured composers included Bruce Bennett, Edmund Campion, Eric Marty, Sue McGowan, Keeril Makan (Click here for a exeerpt from his TBrhkoc To;ilts (1998) for piano and live elec tromnics), Barry Truax, Scott Wilson, and Michael Zbyszynski. 3.5 Fifth International Carillon Festival Berkeley's Sather Tower five-octave carillon played host to a world-wide gathering of carilloneurs in mid June. Edmund Campion's Overheard and David Wessel's Common Ground profited from an extensive set of recordings made of each and every bell. Wessel's work used a large Meyer sound system located in the bellfry to diffuse the electro-acoustic component of his piece. 3.6 Other performers/composers presenting at CNMAT included Thomas Buckner, Bob Ostertag, Jean-Claude Risset, UC Berkeley faculty composer Edwin Dugger, and UC Berkeley graduate student and pianist Vijay lyer performing in duo settings with saxophonist Rudresh Mahanthappa and kotoist Miya Masaoka. 4. Education Program CNMAT offers courses for UC Berkeley undergraduates and grad students, as well as lectures, workshops, and demonstrations for the general public. Courses include Music 108: Music Perception and Cognition, Music 201: Workshop in Computer Music. Music 209: Advanced Topics in Computer Music, and independent study courses. The very popular course Music 158: Musical Applications of Computers and Related Technologies has been completely re-designed with new workstations and now makes extensive use of MSP, David Zicarelli's new signal processing extension to the MAX graphical programming environment. CNMAT presentations and courses open to the general public included a week-long MAX/MSP Night School and the first annual west coast FORUM Ircam software demonstrations. 4.1 Noted acoustician Rene Causse from IRCAM spent his residency at CNMAT as a UC Regents' Lecturer pursuing research and presenting two lectures: "How and In What Directions Sound Radiates from Wind Instruments", and "Synthesis of Radiation Patterns with Digitally Controlled Loudspeakers." 4.2 The CNMAT Users' Group was formed by graduate students on campus and awarded a grant by the Doreen B. Townsend Center for the Humanities to create and present new compositions. 4.3 CNMAT was awarded a UC Berkeley Classroom Technology Grant to create a web-based archive of course materials, research papers, sound files and images for student projects. 4.4 Our proposal for the creation of a Graduate Student Studio was awarded a grant from the UC Berkeley McEnemey Endowment Funds. This project teams a graduate student composer with another graduate student highly skilled in technology and software, supporting them directly and enabling the development and presentation of their creative work. An electronic music studio was built specifically for their collaborative composition and research, and to establish a working environment for the graduate student composer/computer scientist teams that will follow them. A concert/demonstration was held at CNMAT to present their finished piece, Broken Thoughts by Keeril Makan, to the campus community. 5. Research Program CNMAT's research program has launched many new initiatives while realizing breakthroughs on existing projects: I. Graphical User Interfaces for Computer Music Applications PROCEEDINGS ICMC98 301

Page  00000003 a. The Resonance Editor, a specialized component of an environment for editing high-level sound representations, w as desgnedfor musidans, composeP and Fi ound de\^gtT\^\^^lo mman sounds destibed y \re^s^onmodet\. b. A new interface was developed for the real-time visualization of acoustic sound fields. This visualization software was used in conjunction with the CNMAT Sound Spatialization Theatre to study and control speaker array positioning and sound field interpretation. c. Our work continues on the use of digitizing tablets as musical interfaces. The latest developments include the spatial layout of rhythmic classes that are used in combination with controls that exaggerate or diminish their features. A CNMAT-IRCAM joint proposal "Gestural Control of Musical Sound Synthesis" was awarded a grant from the France-Berkeley Fund. This project examines the multidimensional real-time control of computer generated musical sound using a tablet and two-handed user interface and will explore mappings between gestures and music. II. The CNMAT Sound Spatialization Theatre allows maximum flexibility in the location of eight pairs of speakers within the main performance space. Since its installation, this new system has been used extensively for concerts, demonstrations, and experiments in spatialized sound. III. Guitar Innovation Group (G.I.G.) As part of the ongoing research under CNMAT's Guitar Innovation Group, CNMAT has received a research award under the University of California's new Digital Media Innovation (DiMI) Program. The focus of research in CNMAT's proposed project is digital media in live music performance. The results will be a new sound making, processing and reproduction environment that significantly enhances artisitic expressivity and the audiences' experience. We expect to publish research results in the future as the project progresses. IV. A new project was launched to examine procedures that remove the time-axis from spectral synthesis models. The hope is to obtain generalizations about the acoustic behavior of spectrally analysed sources so that new pitch, amplitude, brightness, and other control envelopes can be used to generate less constrained musical material. V. Recently awarded a PhD in statistics at UC Berkeley, Rafael Irizarry has invented a direct adaptive window size estimation procedure for parametric sinusoidal modeling that demonstrates new methods for audio analysis and resynthesis. VI. A new Implementor's Kit has been made available for OpenSound Control (OSC), a message-based protocol for powerful, expressive control of sound synthesis and other multimedia applications. VII. The CNMAT Additive Synthesis Tools (CAST) continue to be improved, updated, and enhanced, especially in support of specific needs for performance and composition. Some examples include a set of CAST tutorials, CAST's ability to write its synthesized audio output to a sound file, and improvements in the way CAST's "time machine" controls the progression of virtual time. VIII. New applications have been realized for the Sound Description Interchange Format (SDIF), a recently-adopted standard that can store a variety of sound representations such as spectral, time domain, and higher-level models. IX. Progress continues on various other projects, including the CNMAT Digital Positive - Organ Project, the CNMAT Rhythm Engine Project, the development of source model loudspeakers, and data accumulation for a project studying operating systems latency measurement and analysis for sound synthesis and processing applications.6. 6. Personnel Under the guidance of Richard Felciano, Founder and David Wessel, Director, CNMAT staff includes Adrian Freed, Research Director, Matthew Wright, Musical Applications Programmer, Edmund Campion, composer-in-residence, and Richard Andrews, Administrator. Our roster of researchers includes Amar Chaudhary, Cyril Drame, Rafael A. Irizarry, Vijay Iyer, Sami Khoury, Tibor Knowles, and Sarah Moussa. The CNMAT list of graduate student composers includes Bruce Bennett, Anthony P. De Ritis, Anthony M. Kelley, Eric Marty, Keeril Makan, Michael Zbyszynski. Other collaborators are Eleanor Ronaele, John Campion, Silvia Matheus, and Laetitia Sonami. 302 PROCEEDINGS ICMC98

Page  00000004 7. Acknowledgments CNMAT gratefully acknowledges the support of our corporate sponsors and Industrial Affiliates Program members, including Gibson Musical Instruments and Opcode Systems, Silicon Graphics, E-Mu Systems, Meyer Sound Laboratories, Wacom Technology Corporation, Digidesign, and Tom Austin/Sherman Clay. 9. References Chaudhary, A. (1998). Band-Limited Simulation of Analog Synthesizer Modules by Additive Synthesis. AES 104th Convention, San Francisco, CA, AES. Chaudhary, A., A. Freed, et al. (1988). OpenSoundEdit: An Interactive Visualization and Editing Framework for Timbral Resources. Proc ICMC, Ann Arbor. Chaudhary, A., A. Freed, et al. (1998). A 3D Graphical User Interface for Resonance Modeling. Proc ICMC, Ann Arbor. Freed, A. (1998) Music Programming with the New Features of Standard C++. Proc ICMC, Ann Arbor. Freed, A. and M. Wright (1998). CAST: CNMAT's Additive Synthesis Tools, CNMAT. Freed, A. Real-Time Inverse Transform Additive Synthesis for Additive and Pitch Synchronous Noise and Sound Spatialization. in AES 104th Convention. 1998. San Francisco, CA: AES. Freed, A., Wessel, D. (1998) Communication of Musical Gesture Using the AES/EBU Digital Audio Standard. Proc ICMC, Ann Arbor. Goodwin, M. M. (1997). Adaptive signal models: theory, algorithms, and audio applications. Memorandum; no. UCB/ERL M97/91. Berkeley, Electronics Research Laboratory College of Engineering University of California: ix, 259. Irizarry, R. (1998) A Direct Adaptive Window Size Estimation Procedure for Parametric Sinusoidal Modeling. Proc ICMC, Ann Arbor. Irizarry, Statistics and Music: Fitting a Local Harmonic Model to Musical Sound Signals,. Ph. D. thesis, 1998, UC Berkeley. Khoury, S., A. Freed, et al. (1998). Volumetric Visualization of Acoustic Fields in CNMAT's Sound Spatialization Theatre. IEEE Visualization 98, Research Triangle Park, NC, IEEE. Khoury, S., A. Freed, Wessel, D. (1998). Volumetric Modeling of Acoustic Fields in CNMAT's Sound Spatialization Theatre. AES 104th Convention, San Francisco, CA, AES. Wessel, D., Drame, C., Wright, M. (1998) Removing the Time Axis from Spectral Model Analysis-Based Additive Synthesis: Neural Networks versus Memory-Based Machine Learning. Proc ICMC, Ann Arbor. Wessel, D., Wright, M.. Shafqat Ali Khan. (1998) Preparation for Improvised Performance: Machine Learning, Knowledge Representation, Listening, and Synthesis in Collaborations with a "Kyal" Singer. Proc ICMC, Ann Arbor. Wright, A., A. Freed. et al. (1988). New Applications of the Sound Description Interchange Format. Proc ICMC, Ann Arbor. Wright, M.(1998) Implementation and Performance Issues With OpenSound Control. Proc ICMC, Ann Arbor. Wright, M., Wessel, D. (1998) An Improvisation Environment for Generating Rhythmic Structures Based on North Indian "Tal' Pattern. Proc ICMC, Ann Arbor. PROCEEDINGS ICMC98 303