Page  00000001 LIEM-CDMC, STUDIO REPORT Adolfo Nzufiez, director c) Santa Isabel 52, 28008 Madrid, SPAIN adolfo.nunez@inaem.mcu.es http://cdmc.mcu.es ABSTRACT The LIEM (Computer and Electronic Music Laboratory) is part of CDMC (Center for the Promotion of Contemporary Music - INAEM - Ministry of Culture - Spain). It is a public service used every year by around 30 composers from Spain and abroad to finish their works. Other activities include software development as required by composition projects, presentation of workshops, seminars and demos, production of concerts from the CDMC which make use of electronic or computer technology and concert presentation of works finished at its studios. This article is an overview of our activities on last five years. 1. INTRODUCTION Founded in 1989, it is situated in the modern art museum "Centro Reina Sofia" in Madrid. The LIEMCDMC is mainly an instrument for composers where they can develop and produce their electroacoustic compositions or research the possibilities of real time electronics. In the last fifteen years there have been technology changes which have make change the way of operation of our studio. They have implied sociological changes in the way composers (mostly form Spain). Back in 1989 when we opened, few classical contemporary composers in Spain used computers, or if they did they lacked the necessary skills, patience or the adequate software to develop their ideas. It was also not very common to have a home studio, and then the composers needed to come to LIEM to finish their pieces from the beginning to the end. We also had to organize introductory seminars to teach how to use basic music software. In the following years, composers learned and assimilated the use computers, and home studio equipment decreased in price and size. All these circumstances lead to the present state, in which composers have to come to a public studio like LIEM for different reasons than they had in 1989. Our studio had to accommodate to these new demands. For instance, in general, now composers come to LIEM to work either on the initial or in the final stages in their compositions. They work in tasks like recording acoustic sounds, the final mix, mastering or for rehearsing the presentation in a concert. Sometimes they only need to listen to their compositions with reference speakers, and in some cases they come for consulting o ask for help to develop software for their composition projects. But in Spain composers are not as specialized in instrumental, electroacoustic or computer music as in other countries and need the studio to work in the whole piece because do not have facilities at home. 2. COMPOSITION In general we only provide free access to composers to the lab with no financial help, however there has been every year some budget for commissions of electroacoustic pieces. Below there is list of composers or artist that have worked at LIEM on the last five years. Symbols: (*) means commission from the CDMC, (**) indicates composers from Latin-American program, awarded by Spanish Ministry of Culture and (***) means young composers awarded by IIMEB Bourges Residence Competition and LIEM-CDMC: Omar Abad, Lars Akerlund, David Alarc6n*, Miguel Alvarez, Maria de Alvear*, Isabel Arevalo, Javier Arias Bal, Alejandro de la Barrera, Jean Philipe Bec, Gabriel Brncic*, Edgardo Cant6n, Inmaculada Cardenas, Jose Luis Carles*, Nicolas Cong6***, David de Gandarias**, Alicia Diaz de la Fuente, Consuelo Diez, Charles Dodge*, Carlos Duque, Maria Escribano, Julio Estrada, Gregorio Garcia Karman, Gabriel Fernmndez Alvez*, Claudio Ferrari**, Silvia Fomina, Jose Maria Galvez, Juan de Dios Garcia Aguilera*, Juan Jos6 Garcia Escudero, Eleazar Garz6n**, Ram6n Gonzalez Arroyo, Juanjo Guillem, Enrique Igoa*, Jesuls Jara, Alejandro Jos6**, Francisco Kropfl*, Merran Laginestra, Canco L6pez, Albert Llanas*, Juan Antonio Lle6, Jos6 Manrique*, Enrique Marin, Sofia Martinez*, Juan Carlos Martinez Fontana, Joaquin Medina*, Fernando Millan, Ignacio Mir6, Roberto Mosquera, Adolfo Nufiez, Pilar Ossorio*, Francisco Otero*, Maria Luisa Ozaita, Abril Padilla*, Eduardo P6rez Maseda*, Gonzalo de Olavide*, Julian Pont6n**, Alberto Posadas, Daniel Quaranta**, Jane Riegler, Jean Claude Risset*, Luis Rodriguez, Ebba Rohweder, Jesus Romaris, Jesus Rueda, Diego Saiz, Argenis Salazar, Arturo Salinas, Julio Sanz, Rodrigo Sigal**, Daniel Sprintz, Arthur Thomassin, Jaime del Val, Raul do Valle, Juan Carlos Velazquez, Miguel Villanueva, Trevor Wishart, Ana Yaya***, Gustavo Zaietz and Edson Zampronha**. There is also collaboration with the Spanish National Radio organizing a competition of Radio Creation Works. The prize is a commission of a radio work, which can be produced at the National Radio or at LIEM studios. 3. SOFTWARE DEVELOPMENT The lab is involved in the development of software for all stages of composition whenever is needed, and is open to external collaborations from universities or other research centres. In the last five years the software

Page  00000002 engineer Juan Andr6s Beato, a recognized expert in the MAX/MSP and PD environments, has carried out the development almost completely. He implemented the software following the specifications of composers in the following works: Cuerpos fronterizos by Jaime del Val, in which the movements of a dancer (Michelle Man at the concert premiere) are captured by a video camera and sent to a computer which produces and control the sound. MIDI- Verso a new version of this installation by Juan Antonio Lle6. Elementos constantes hechos variables by Enrique Marin for electronics and real time interaction of tuba (Jesuis Jara) and baroque flute (Anna Margules). The MAX version of Utopia A by Adolfo Nufiez for live piano processed (Ana Vega Toscano) and electronics. Las plagas for spoken voice (the poet Sandra Santana also author of texts) and live electronics by composers Miguel Alvarez and, the main software PD developer, Gregorio Garcia Karman. Profitfiirfabi for live spacialized tuba by Jesuis Jara. Other live electronic pieces include Un viento dorado by Sofia Martinez and Suite eitnica by Luis Rodriguez. For the Alicante Festival 2004 it was developed in PD environment an installation intended to be used by the public, it had individual listening and information about 33 electronic compositions done at LIEM by authors born between 1950-1962 (the "baby boom generation" or the "old young composers"). 4. CONCERTS The LIEM participates in the organization and technical production in more than twenty concerts on each CDMC annual season, taking place at the Centro de Arte Reina Sofia, Auditorio Nacional (Madrid), at the Festival of Alicante, as well as in other places in collaboration. We talked about the changes that had taken place in the way composers use technology during the last fifteen years, in the performers community things have changed also. There are more of them interested in making use of computer or electronic technology in their concerts, and they are increasing their initiative taking a more active role in the use of technology. Performers and visual artists that have premiered works from LIEM include Karina Azizova, Luurs Metal, Esteban Algora, Miguel Angel Jim6nez Arnmiz,. Jean Claude Risset, Blanca G6mez Garcia, Miguel Angel Vini6, Salvador Vidal, Cristina Palmese, Carlos Urbina, Grupo Cosmos 21, Carlos Galin, Joaquin Medina, Jos6 Sancho, Bel6n Guti6rrez, etc. LIEM compositions are premiered mainly at the Jomnadas de Inform~itica y Electr6nica Musical (JIEM) - La Muisica Toma el Museo, a two week festival taking place at the Centro Reina Sofia, which includes concerts, lectures and seminars, around end of June and beginning of July. The CDMC also organizes the Festival de Muisica Contemporinea de Alicante in which take place several concerts involving electronic technology. Other institutions or places where LIEM has produced concerts or presented works: Metafonia (Milan), Primavera en la Habana (Cuba), 'Cinema for the Ear" Aarhus (Denmark); University of Florida (USA), Centro Sardo Studi e Ricerche Cagilari (Italia), Universit6 Paris VIII (France), Alt+SPACE Festival (New York), Synthese Bourges (France), Confluencias (Huelva-Spain), Festival Intenacional de Granada - Electroacuistica en el Planetario (Spain); Ciclo Phonos and ACC (Barcelona), Punto de Encuentro (Spanish Electroacoustic Music Association) (Madrid). 5. SEMINARS AND OTHER ACTIVITIES Today at LIEM we do not find necessary any more to offer the typical seminars we organized at the early 90's for initiation to computer music. It also does not make sense workshops for a particular commercial music application because the market is very wide and there are other institutions offering them. The main goals of our seminars of today are the inspiration and share of ideas and experiences, as well as the viewing the technology as a gate to the communication between music and other arts like visual, dance, sound art, etc. We also focus on introducing demos to the students and the youngest to rise their interest. For the professionals we organize seminars given by recognized experts, composers, performers or other artist to talk about their approach and use of technology. Seminars organized in the past include those given by Horacio Vaggione, Xavier Serra., Daniel Teruggi, Clarence Barlow, Ram6n Gonzailez Arroyo, James Dashow, Francisco Guerrero, Jean Claude Risset, Adolfo Nui~ez, Emiliano del Cerro, Jorge Antunes, Eduardo Armenteros, Isidoro P6rez Garcia, Charles Dodge, Francisco Kropfl, Eduardo Polonio, Ricardo Bianchini, Jose Manuel Berenguer, Sergi Jordai, Eduardo R. Miranda, Jose Luis Carles, Edson Zampronha, Joel Ryan, Jos6 Iges, Concha Jerez Ricardo Climent, Alex Arteaga, Juan Andr6s Beato, Juan Avila, Denis Dufour, etc. There is also a yearly program from the Ministry of Culture of financial help for musicians from Latin America to come to LIEM, 2 of them for composition stages of 4 weeks each and also 9 students are awarded to come to attend a 2 week seminar. 6. FACILITIES AND STAFF There are three equipped rooms and some mobile audio material for concerts (Yamaha 02R96 mixer, speakers, microphones, Powerbook G4, etc). Room 1: Mac G5 with Digi 002. MIDI equipment Yamaha Kx88 keyboard. Kawai k5m, Yamaha EX5R and TX 802, Oberheim Matrix 1000 Synthesizers. Akai S-1000 sampler. Denon DN-C630 CD. Lexicon 480L and PCM 70. Yamaha Rev-S and spx-90 II. TC Electronics 2228. Drawmer M500, Studiomaster idpl and Symetrix 522 dynamic processors. AMEK Angela 28 in/24 out analog mixer. 4 Westlake loudspeakers. Room 2: The recording room. Apogee microphone preamp and analogue to digital converter. Mac G4 with Digidesign 888 interface. Yamaha 03D mixer. Tascam DA45 DAT. Stereo and quad monitoring: 2 ElectroVoice Sentry 500 loudspeakers. 4 Genelec 1030-A loudspeakers. Room 3: Multipurpose, it is used for lectures and temporary setups. Computers Mac G5 and PC Pentium

Page  00000003 IV, 888 and Hammerfall interfaces. Yamaha 03D mixer. 8 Genelec 1030-A and 1 subwoofer 1092-A loudspeakers. The CDMC staff: Jorge Femrnndez Guerra (director), Charo L6pez de la Cruz (assistant director), Eduardo L6pez (press), Enrique Garcia, Lourdes Molina (managers), Juana Lerma, Rosa Estaca, Patricia Gallego (administration). Adolfo Nufiez (director ofLIEM), Juan Andr6s Beato (software engineer), Juan Avila (audio engineer). 7. REFERENCES [1] C6ster, C. and A. Nfiez. "LIEM-CDMC Studio Report", Proceedings of the International Computer Music Conference, Montreal, Canada, 1991. [2] Nufiez, A. "The computer and electronic music studio at CDMC - Madrid", Proceedings of the International Computer Music Conference, ICMA, USA, 1989. [3] Nufiez, A. "The laboratorio de informatica y electr6nica musical from CDMC, Madrid", Proceedings of the International Computer Music Conference, Glasgow, U.K., 1990. [4] P6rez Garcia, I. and A. Nufiez. "LIEM-CDMC Studio Report", Proceedings of the International Computer Music Conference, San Jos6, USA, 1992. [5] P6rez Garcia, I. and J. Arias, P. Femrnndez, L. P6rez. "Quad Pan, spazialization system of music in live", Proceedings of the International Computer Music Conference, Hong Kong, 1996.