Page  00000403 CCRMA Studio Report Juan Reyes, Fernando Lopez-Lezcano Center for Computer Research in Music and Acoustics (CCRMA) Stanford University [juanig - nando], - ~nando Abstract The Stanford Center for Computer Research in Music and Acoustics (CCRMA) is a multi-disciplinary facility where composers and researchers work together using computer-based technology both as an artistic medium and as a research tool. Following a long tradition of innovation, science and creativity the center devotes its energy and resources to develop techniques for optimizing approaches to the art of science and the science of art. In addition to doctoral degrees, CCRMA now has its own Master of Arts degree with a concentration in Music, Science, and Technology. There is a variety of related activities spread during the year and now include Internet - web presentations and teleconcerts. Unix continues to be the mainstream operating system running on Linux workstations and a great deal of effort and time is devoted in keeping the system up to the edge and documented. The sound editor "SND" developed at CCRMA is a powerful tool giving flexibility for not being "just an editor" but a research and a compositional tool. Recording studios have been updated to the state of the art in multichannel Digital Audio Workstations, with a new Unix sound server. In addition to research in signal processing, perception, networking, sonification and other traditional fields of research in computer music, human computer interface (HCI) has became an area of great interest. 1 The cast CCRMA is located on the Stanford University campus in a building refurbished in 1986 to meet its unique needs. The facility includes a large multichannel/ multimedia experimental space with adjoining control room/all-digital studio, a recording studio with adjoining control room, a couple of general purpose analog/digital studios, several work areas with workstations, synthesizers and speakers, a seminar room, a reference library, classrooms and offices.. The overview section is fairly detailed review of the latest research and music produced at CCRMA and is found at: "" The CCRMA community consists of administrative and technical staff, faculty, research associates, graduate research assistants, graduate and undergraduate students, visiting scholars and composers, and industrial associates. Stanford de partments actively represented at CCRMA include Music, Electrical Engineering, Mechanical Engineering, Computer Science, and Psychology. CCRMA has developed close ties with the Center for Computer Assisted Research in the Humanities (CCARH), an independent organization affiliated with the Department of Music. Staff & Faculty: Chris Chafe-Professor of Music, Director; Jonathan Berger-Associate Professor of Music; Julius Smith-Associate Professor of Music and Electrical Engineering; Jay Kadis-Audio Engineer/Lecturer; Fernando LopezLezcano-Systems Administrator/Lecturer; Vibeke Cleaver- Administrative Assistant; Max Mathews-Professor of Music (Research); John Chowning-Professor of Music, Emeritus; Leland Smith-Professor of Music, Emeritus; John Pierce-Visiting Professor of Music, Emeritus; William Verplank-Lecturer; Marina Bossi-Consulting Professor of Music; Eleanor Selfridge Field-Consulting Professor of Music; Walter HewlettConsulting Professor of Music; William Schottstaedt-Research Associate; Gary Scavone-Technical Director; Charles NicholsAssociate Technical Director. 2 Activities Center activities include academic courses, seminars, special interest group meetings, spring and summer workshops, and colloquia. Concerts of computer music are presented several times each year, including an annual outdoor computer music festival in July and the Strictly Ballroom concert series throughout the academic year. In-house technical reports and recordings are available, and public demonstrations of ongoing work at CCRMA are held periodically. Research results are published and presented at professional meetings, international conferences and in established journals. Compositions are presented in new music festivals, modern art museums, and radio broadcasts throughout the world. Many works are available on digital media. 3 Hardware Currently supported platforms include the Linux and Macintosh worlds. We have now over 30 Intel based PC's running Linux, using a patched and upgraded version of RedHat 7, running 2.4.5 kernels with low latency patches and the ALSA sound drivers. Most of the machines have now high quality sound-cards that are capable of doing 24bit/96KHz input-output (four channel Midiman Delta 66 plus the OmniIO external mixer box). Some of the studios have work 403

Page  00000404 stations with eight channel Midiman cards and digital ADAT lightpipe I/O. The Midiman Delta line of cards has very good driver support under ALSA. The main servers have finally migrated to dual-processor Linux machines with hardware RAID5 disk storage arrays and DLT high capacity backup tape drives. There is a new Unix based sound file server also with hardware RAID5 disk storage. CCRMA connection to the Stanford University Network is being upgraded to a Gigabyte/s, giving CCRMA high speed access to the new Internet 2 GigaPop nodes. A high speed (2GB) hub is now installed for ongoing research in audio streaming at CCRMA but for the rest of us the internal network speed is becoming the bottleneck for high speed serverbased work. An upgrade of our main backbone to 1GB/s Ethernet has been planned but priority at this time has been given to a sub-network and a wireless network so that people can have connectivity with their own computers, and our network including servers printers and Internet. All Linux machines have a full Linux installation plus more than 100 extra packages which provides users with hundreds of programs and utilities for sound, graphics and research. Documentation for most of these programs suggestions and hands on tutorials are provided at the CCRMA home page. Some NeXT's black and white machines still run the mailer and vintage classic signal processing software. Some of the lower powered PCs can dual boot Linux and NextStep. As part of this legacy an Apple OS-X G4 computer has been added to the hardware collection for the sole purpose of securing migration to a yet another Unix environment. The old SGI 02's and the Indy keep running, but nevertheless have been retired by most of the users. So far the Unix world is still platform-transparent and the user information and shared server resources can be accessed from all machines. Supported software in the Unix world includes the CCRMA Lisp Environment (which includes Common Music, Common Lisp Music and Common Music Notation), the SND sound editor which provides extensive customization and programming capabilities through The Scheme language. For real-time low latency work Pd is being used extensively and for research STK continues to be a favorite. RT Audio is also used as a platform for audio streaming and many other applications. The Macintosh world has a full complement of MIDIbased tools and is used for MIDI applications, notation and digital mixing (with hardware assist from 16 and 24 bit Pro Tools systems in three of the four studios). Users can transfer and mix sound-files from every workstation to all of the studios. Studio C formerly known as MIDI studio, is a general purpose four channel studio with JBL LSR28 near field monitors that includes a 24 bit fully loaded Pro Tools system, MIDI tools and a Linux-based multichannel machine. MIDI systems include Yamaha, Roland and Korg equipment including Yamaha DX, TX, SY, TG and VL synthesizers, KX88 keyboard controller, Disklaviers, Korg WaveStations and Wavedrum, E-mu samplers and digital delays and effect processors. Also available are IVL pitch trackers, a Buchla Lightning MIDI controller, Radio Drum controllers, MIDI patchers and drum machines from Yamaha and Roland. This stuidio was updated with a Marantz CD-Recorder and a DVD writer. Multichannel DVD authoring software is planned for the near future. Studio E has a 16 channel Pro Tools system with a core card, several DSP Farm cards, Two Sample-Cell II cards and an 888 interface and Genelec 1030's for high quality monitoring and the option to be patched as an eight channel monitoring studio. Studio D is now an eight channel 3D fully digital studio, with a dual processor Linux-based workstation digitally connected to a Roland VM7100 digital mixer which feeds eight Mackie HR824 monitors. The hardware and software in this studio is essential for monitoring multi channel sound mixes and research on 3-D audio and HRTF's. An Ambisonics microphone is the newest addition for this purpose. All studios now have Teac DTRS multichannel digital recorders. CCRMA's recording studio has become a central part of the Music, Science and Technology program, as it is heavily used by students working on audio recording technology. This studio is now fully digital and centered around a Mackie d8b mixer with digital connection to three Tascam DTRS digital recorders. Monitor systems include Westlake BBSM-lOs powered by Hafler P235s and JBL 4206s powered by a QSC 1080. Outboard gear includes Teletronix LA2A, dbx 166, and Behringer Composer compressors, Yamaha SPX-90IIs, a Yamaha SPX-1000, a Korg A-1, two Yamaha D1500 delays, two Rane GE-30 graphic equalizers, Yamaha Rev-7 and Lexicon 224XL reverbs. Microphones include a Neumann TLM-193, AKG C-414s and C-460s, Electrovoice RE-20s, Sennheiser MD-421 and MD-504s, a Beyer M-500, and several Shure Beta-57s and SM-57s. Also available in the recording studio is a Yamaha DC-7 Disklavier piano. The Ballroom,which offers a second Disklavier Pro is our main teaching room with an eight channel surround setup, a high quality and low noise video projection system and a renovation is underway to transform it into a very capable small auditorium with 12 speakers. 4 Research Summary This is a brief list of research activity and who's doing it: 4.1 Computer Music Hardware and Software * Snd, Ruby support, GUI extensions, etc; William Schottstaedt * The Synthesis Toolkit (STK); Perry Cook and Gary Scavone * RT Audio: a multiplatform C++ class for realtime audio input/output; Gary Scavone * Common Lisp Music, sndutils and Common Music Notation; William Schottstaedt * Common Music; Heinrich Taube * A Dynamic Spatial Sound Movement Toolkit; Fernando LopezLezcano * grani, a granular synthesis instrument for CLM; Fernando Lopez-Lezcano * ATS (Analysis/Transformation/Synthesis): a Lisp environment for Spectral Modeling; Juan Pampin * Scanned.ins: a scanned synthesis instrument for CLM; Juan Reyes * Alcaupsil: Synthesis of Ecologically-based Sound Events in Space for CLM; Damin Keller, Fernando Lopez-Lezcano 404

Page  00000405 4.2 Physical Modeling and Signal Processing * Stability Bounds for Parametrized Difference Schemes for the Wave and Plate Equations; Stefan Bilbao * Physical models of friction driven oscillators; Stefania Serafin * "Perceptually Similar Orthogonal Sounds and Applications to Multichannel Acoustic Echo Canceling; Hui-Ling Lu * Dynamical Systems and Sound Synthesis; Richard Kronland-Martinet, Solvi Ystad * Modeling and Synthesis of Piano Tones; Richard Kronland-Martinet, Julien Bensa * FFT-Based DSP and Spectral Modeling Synthesis; Julius Smith * Applications of Bio-acoustics to Creating New Musical Instruments; Tamara Smyth * Tone-hole Radiation Directivity Measurements; Gary Scavone * Developments in Conical Bore Instrument Modeling; Gary Scavone * "Parameters for Expression with the Physical Model of the Maracas; Juan Reyes * Sound Synthesis by Hybrid Models; Solvi Ystad; Julius Smith * Physical Model Synthesis with Application to Internet Acoustics; Chris Chafe * Digital Waveguide Modeling of Acoustic Systems; Julius Smith 4.3 Digital Signal Processing * Timbre Analysis Methods for Teaching Orchestration; Jonathan Berger with Randal Leistikow * Signal Processing Techniques for Algorithmic Composition; Christopher Burns * Transcription of Piano Music; Randal Leistikow * Modeling of Non Stationary Events in Audio Signals: Applications to Segmentation and Rhythm Tracking; Harvey Thomburg * Rhythm Tracking and Segmentation with Priors: A Unified Approach; Harvey Thornburg * Detecting Switching Points in Hybrid Models for the Transcription of Overlapping Audio Events; Harvey Thornburg 4.4 Controllers and Musical Instruments * Four Degrees of Freedom Virtual Violin Bow Controller Haptic Human-computer Interface; Charles Nichols * Designing Controllers: The Evolution of our ComputerHuman Interaction Technology Course; Bill Verplank and Max Mathews 4.5 Audification of Data * A Parameter Engine for Sonification Research using STK; Jonathan Berger with Perry Cook, Gary Scavone, Oded Ben Tal, Bryan Cook and Michelle Daniels * Sonification of Complex Data; Jonathan Berger, Michelle Daniels and Oded Ben Tal * Levels of Temporal Resolution in Sonification of Network Performance; Chris Chafe 4.6 Psychoacoustics and Cognitive Psychology * The sonic mapper: a new psychoacoustic graphical interface for two-dimensional similarity mapping, sorting, and comparison; Gary Scavone * Sinusoidal Modeling for Transcription and Sound Source Separation; Aaron Steven Master * Compositional processes from an ecological perspective; Damian Keller 4.7 Machine Recognition in Music * Dynamic Multimedia with Squeak; Craig Latta * Visualizations of Tonality; Craig Sapp * Audio Content-Based Retrieval Methods and Automatic Style Classification; Unjung Nam 4.8 Historical Aspects of Computer Music * New Realizations of Electro-acoustic Works, John Cage, Rozart Mix Conlon Nancarrow, Studies for Player Piano No.16, No. 21, No.26 (No. 16 in collaboration with Chris Jones), Gyorgy Ligeti, Poeme Symphonique for 100 metronomes; Christoher Bums 4.9 Computer Assisted Music and Acoustics Research * The Center for Computer Assisted Research in the Humanities (CCARH); Eleanor Selfridge Field * The Musical Acoustics Research Library; Gary P. Scavone and Max V. Mathews * Web-Based Infrastructure for Research and Teaching; Julius Smith 405

Page  00000406 5 Compositions * Jonathan Berger: "Haiku" (2002) for trombone and electronics; "My Lai" (2001) for solo piano; "Echoes of Light and Time" (2000) sound installation in collaboration with Dale Chihuly. * Chris Burns: "Misprision" (2001) for flute and guitar. * Chris Chafe: "Ping" (2001)SFMOMA 010101:Art in Technological Times An onsite and on-line experiment with the network. A collaboration with digital artist Greg Niemeyer; "Oxygen Flute " (2001) A second collaboration with Greg Niemeyer.It is a growth chamber filled with bamboo and carbon dioxide analyzers. Visitors can hear the exchange between their respiration and the respiration of the plants; * Ching-Wen Chao: "The Captured Shadow" (2001) for soprano trombone, delay and tape; "SOUNDSTATES" (1998/2001) for percussion and tape. * Seungyon-Seny Lee: "Idiosyncrasy " (2002) for 8 Channel Interative Real-time Composition, Mezzo-soprano & video images. * Juan Reyes: "Wadi Musa (or the Monteria Hat)" for physical model of the maraca, quena and cello; "Oranged (lima-limon)" for tape. * Charles Nichols: "Strata II" (2001) for flute and interactive computer programming. 406