Partners

Funding

• McGill University has committed $90,000 annual funding to CIRMMT, matching FQRSC/FQRNT funding for 2008-2014.
• A Fonds québécois de la recherche sur la societé et la culture (FQRSC)/Fonds québécois de la recherche sur la nature et les technologies (FQRNT) grant of $300,000/yr for six years (2008-2014) was awarded to CIRMMT to support the infrastructural needs of the Centre. 
• The Maurice Pollack Foundation has generously provided funding for the Centre's audiovisual editing lab.
• In 2001, the Centre was awarded a Canada Foundation for Innovation (CFI) grant of $6.5 million for construction ($3.7M) and equipment ($2.8M).  
  
• A Valorisation–Recherche Québec (VRQ) grant award provided $2.2M over four years (2002-2006) to support the direct cost of research conducted with our international partners on “Real-time Communication of High-resolution Multi-sensory Content via Broadband Networks.” Some of  this grant has contributed towards the operating expenses of CIRMMT.

Academic and Institutional Users

• University of British Columbia, Canada (high-definition videoconferencing)
• University of Victoria, Canada (undersea broad-band transmission of HD video and sound)
• University of California, San Diego, USA (on-stage gestural capture of musicians for real-time control of computer-processed sound)
• Rensselaer Polytechnic Institute, USA (on-stage gestural control of audio spatialization by musicians)
• Ecole Nationale des Sciences et Techniques Avancées, France (physical modeling and sound source perception)
• Universitá di Verona, Italy (multimodal interactions in sound source perception)
• Université de Montpellier, France (motion capture and modeling of musical performance gesture)
• University of Oslo, Norway (motion capture and modeling of musical performance gesture)
• Institut de Recherche et Coordination Acoustique/Musique (IRCAM), France (gestural control of sound synthesis, computer-aided orchestration, content-based retrieval in sound databases)
• MIT Media Lab, USA (capture and analysis of violin bow strokes)
• Immersion Music, Boston Symphony Orchestra, USA (real-time behavioural and psychophysiological measures of audience response to music in a concert setting)

Private and Governmental Users

• Renault, France (sound quality research and sound design)
• PSA Peugeot-Citroën, France (Sound quality research and sound design)
  
• Bang & Olufsen, Denmark (development of high-quality audio-visual systems using surround sound and multidriver loudspeakers)
• Double V3, Radiolibre.ca, Québec, Canada (web-based music recommendation engine)
• D-Box, Québec, Canada (motion platforms for multimodal immersive systems)
• Thought Technologies, Québec, Canada (psychophysiological sensors for recording audience reactions)
• Pioneer Electronic Corporation, Japan (evaluation and calibration of multichannel audio systems for consumer and professional applications)
• TC Electronic, Denmark (digital algorithms and perceptually based control of simulated room acoustics)
• Philips Research, The Netherlands (testing Direct Stream Digital, high-resolution audio formats and mastering techniques for the optical Super Audio CD format)
• NASA Ames Research Center, USA (virtual acoustic 3D audio systems and displays)