SPLICE Institute 2023
Workshop Descriptions

Workshops (essentially “classes”) at SPLICE are divided into four time blocks. Many of these workshops meet every day for the duration of the week. Participants are encouraged to be as consistent as possible in attending their selected workshops. For the vast majority of these, if you have a laptop you should bring it!

A note about levels:
Introductory - Assumes a basic proficiency with computers, but does not assume prior knowledge or experience with the fundamentals of electroacoustic music (digital theory, acoustics, etc) or the tools being taught.
Intermediate - Assumes at least basic prior knowledge of the fundamentals of electroacoustic music, and a working understanding of the tools being taught (for example some experience with Max).
Advanced - Assumes extensive experience with the concepts of electroacoustic music, and prior fluency in the tools being taught.

Slot A 9-10:15a

Animals and Synthesizers (Introductory, Mon-Fri)
An introductory workshop exploring the basics of synthesis in Reaper while creating sound for a short animal-themed film clip. All experience levels welcome!

IRCAM Tools (Intermediate, Mon-Fri)
This will cover 2 pieces of IRCAM software: OpenMusic and Orchidea. The first 3 days cover OpenMusic, a visual programming environment for Computer-Assisted Composition. The last 2 days cover Orchidea, a computer-assisted orchestration tool. Users select a set of instruments and a target audio file, and Orchidea generates a sample-based audio file result and a score. Students should install both OpenMusic (Mac and Win), Orchidea (Mac only), and MaxOrch (Mac only) prior to the meetings. Details will be provided.

Intro to SuperCollider (Intermediate, Mon-Fri)
An introductory workshop for those with little or no experience with SuperCollider. Learn basic audio coding while exploring this free and expressive programming language that provides a framework for acoustic research, algorithmic music, and electronic music performance.

Intro to Performance Technology (Introductory, Mon+Tues)
If you are new to electronic music performance, start here! The basic details about everything you need to know to setup and run pieces with electronics.

DAW for Performers (Introductory, Wed+Thurs)
A continuation of the “Intro to Performance Technology” classes, DAW for Performers will explore the basics of creating, recording, and editing sound in Digital Audio Workstations. After this course, participants will feel comfortable creating fixed playback electronics for use in their own compositions.

Performing with Ableton Live (Introductory, Mon-Fri)
A series of sessions to introduce and explore techniques for using Ableton Live in live performance both for full structured pieces and improvisation.

Slot B 10:30-11:45a

Intro to Max (Introductory, Mon-Fri)
An introductory workshop for those with little or no experience using Max. Explore the power of this visual programming language for music and multimedia, creating patches that input live signals, play soundfiles, and process live signals/soundfiles in various ways.

Max Topics (Intermediate, Mon-Fri)
Various workshops on working with Max, including data processing, effects, and preset systems, all geared for intermediate Max users.

RNBO (Advanced, Mon-Fri)
An advanced workshop that will cover many of the features of RNBO, the add-on for Max from Cycling ‘74 that allows for exporting Max-like code to a wide range of destinations beyond Max. This workshop will explore audio synthesis and signal processing in RNBO with a particular emphasis on compiling and exporting RNBO code to hardware and software targets like Raspberry Pi, VST/Audio Unit plugins, and Max Objects as well as C++ and Web Audio. Recommended prior experience: significant Max experience including familiarity with buffering, synthesis, filters, poly~, and parsing MIDI data.

Faust (Open, Mon-Fri)
An introductory workshop on Faust (Functional Programming Language for Real Time Signal Processing). Build an original synth or plugin using a free audio coding program on web browsers. https://faust.grame.fr/

Max for Performers (Introductory, Mon-Thurs)
Learn the basics of Max including how to troubleshoot, create cue systems, timers, and musically interact within the software. No previous experience is necessary.

SLot C 1:00-2:15p

Electronic Improv Ensemble (Open but see below, Mon-Thurs)
This ensemble is open to any practitioner of electronic/electroacoustic performance. Through daily performances, we will explore the unique musical properties that emerge in and from instrumental systems capable of automation and increased agency. Our studies will include both free-improvisation and guided improvisational scores. Participants should have experience performing electronics, which could include fully electronic, either digital or analog, or hybrid electronic-acoustic systems, and they should be prepared to bring their instrument/system. Audio monitors can be provided; other gear could be provided upon request based on availability. Experience in improvisation is welcomed, but not required. Participants in EIE will be required to rehearse with the ensemble during the workshop C slot/period throughout the week. Non-practitioners, including purely acoustic instrumentalists, vocalists, and composers with no previous electronic music performance practice, are welcome to observe the ensemble.

Improv Topics - Writing for Improvisers (Open, Mon-Tues)

Improv Topics - Vocal Processing (Intermediate, Wed-Thurs)

No Input Mixer (Open, Wed only)
Learn how to turn a mixer into an expressive noise machine. The workshop will use feedback-based electronic sounds. No computers are needed. The instructor will provide mixers and amps, but feel free to bring your own. Limited slots are available.

Slot d 2:30-5:00p

SPLICE Creative Music Band (Open but see below, Mon-Fri)
Splice Creative Music Band is an advanced participant ensemble comprising acoustic and electronic musicians. The term Creative Music refers to the approach of music making established and embodied by the Association for the Advancement of Creative Musicians. CMB seeks to honor the AACM and will rehearse existing repertoire throughout the week that incorporates systems of improvisation. This workshop is limited to 12 participants who have prior experience with improvisation. Participants in CMB will be required to rehearse with the ensemble during the workshop D slot/period throughout the week.

Approaches to Improv - Exploring Ensembles Collective (EEC!) (Open, Mon-Fri)
The primary goal of this workshop is to provide a structured environment in which to collectively investigate the spontaneous creation of engaging music. Each session will begin with some warmup exercises, followed by short improvisations in ad hoc groupings. Each of these will be followed by discussion and feedback, allowing us to collectively discover what is most and least effective given the setting and the individuals involved. This workshop is open to acoustic and/or electronic performers and to all levels of improvisational experience. Participants will be required to rehearse with the ensemble during the workshop D slot/period for at least 4 out of the 5 meetings throughout the week.

Approaches to Improv - The Popebama sessions (Open, see below for days)
Mon+Tues: “instrumental economy" - In short, getting a lot out of a little. Each individual will be asked to bring a single instrument or object that may have seemingly limited sonic potential (or not?) Over the course of 2.5 hours we will work with the participants to find all of the sonic possibilities of their instrument/object and engage with them musically. At the end of the 2.5 hours the students should have a small postcard piece or improvisation to present. Content will be the same both days.

Wed-Fri: “performative electronics" - This will be a workshop centered around creating a one-to-one relationship between sound and action when dealing with electronics, to create a relationship to the electronic device similar to that of the relationship with an acoustic instrument, where the performance action is directly linked to the sound the device is outputting. Essentially, no "ghost in the machine." Each student will bring one electronic device (or controller) and we will explore with them the "performative" aspect of their device. If the student does not have anything to bring, we can provide them with something. At the end of the 2.5 hours the students should have a small postcard piece or improvisation to present. Content will be the same all 3 days. Participation will be limited by the number of speakers available.