English - ATMM Conference

Transkript

Audio Technologies for Music and Media is an international interdisciplinary conference that
focuses on the various aspects of audio, audiovisual and music technologies for music and
media, and, also, on the relationship between sound, music and image in both ‘traditional’ and
‘new’ media.
After the success of ATMM 2012, the first international conference in Turkey in the fields of
audio, music and media, ATMM returns to Bilkent University on 31 October – 1 November 2013.
Hosted by Department of Communication and Design, ATMM 2013 features a tightly-packed
program with a wider range of topics.
ATMM 2013 Steering Committee
Ufuk Önen (Bilkent University)
Teoman Pasinlioğlu (Independent Researcher)
Mustafa Ertan (Interelektro)
Ahmet Gürata (Bilkent University)
Bülent Bıyıkoğlu (KV331 Audio)
Kürşat Pasinlioğlu (Voispectra)
ATMM 2013 Steering Committee Associate Members
İpek Altun (Bilkent University)
Bilge Miraç Atıcı (Bahçeşehir University)
Giray Bayer (Bilkent University)
Gerçek Dorman (Özdem Müzik)
Uğur Satılmış (Bilkent University)
ATMM 2013 Student Connection Board
Yusuf Akçura (Bilkent University)
Arda Eden (İnönü University)
Bora Uslusoy (Plato College of Higher Education)
Suat Vergili (9 Eylül University)
ATMM 2013 Review Board
Teoman Pasinlioğlu (Independent Researcher)
Cihan Işıkhan (9 Eylül University)
Arda Eden (İnönü University)
Mahcem Öztürk (Müziktek)
ATMM 2013 Assistants
Hasan Çulu (Bilkent University)
Altuğ Karakurt (Bilkent University)
B. Lila Özkazanç (Bilkent University)
Güneş Uyanık (Bilkent University)
Ezgi İ. Yücel (Bilkent University)
Contact
ATMM 2013 PROGRAM
31 October Thursday / 31 Ekim Perşembe
12:30
13:00
13:30
14:00
14:30
15:00
15:30
16:00
16:30
17:00
17:30
19:00
FFB - 022
10:30
11:00
11:30
12:00
12:30
13:00
13:30
14:00
14:30
15:00
15:30
16:00
16:30
17:00
17:30
18:00
Foyer / Fuaye
Lennie Moore
Keynote Address
Stephen Harwood & Lennie Moore
“Game Audio Theory and Practice”
Aida Shirazi Performance
H. T. Dizdar “İşitme Kayıplar”
E1 Sessions (English)
T1 Sunumlar (Türkçe)
NOMAD
Paul Devens
“Recording Strategies I”
Student Presentations
“Beyond Reasoning” (sergi açılışı ve kokteyl / exhibition opening reception) & Marcus Schmickler
“particle/matter-wave/energy ” (performance / performans) Goethe Institut, Ankara.
01 November Friday / 01 Kasım Cuma
10:00
FFB - 006
FFB - 005
FFB - 022
Mehmet Uğur Memiş
Miks Semineri
FFB - 005
FFB - 006
Medea Electronique
Foyer / Fuaye
Liz Teutsch - Berklee Valencia
Panel: “Preparing for a Future in
Audio Technology”
Pieter Snapper
“Perspectives on Recording, Mixing,
and Mastering on Contemporary
Opera”
Cem Tuncer
Seminer: “Bas Gitar Tonu”
HR Stamenov
“Sounds From the Sky”
Paul Devens
“Recording Strategies II”
1000names
Student Presentations
Keynote: Lennie Moore
[31 October Thursday / 31 Ekim Perşembe, 12:30-14:00, FFB-022]
English:
ATMM 2013 keynote will be delivered by Lennie Moore who has been a proven force as an
accomplished composer, orchestrator and arranger of music for video games, film, and
television for 25 years. His credits include Star Wars: The Old Republic, Kinect Disneyland
Adventures, The Walking Dead Motion Comic, Watchmen Motion Comic (2008 G.A.N.G. award
winner), and Dirty Harry among many others.
Moore is not only a professional, but also an educator as well. He has developed the first
accredited degree program for Game Audio and Interactive Media at Pinnacle College, and also
developed and taught Composing for Video Games courses at the USC Thornton School of Music
and UCLA Extension.
Turkish:
ATMM 2013 ana konuşmacısı (keynote) 25 yıldır bilgisayar oyunları, film ve televizyon için
yaptığı müziklerle alanının duayenlerinden biri olan Lennie Moore olacak. Star Wars: The Old
Republic, Kinect Disneyland Adventures, The Walking Dead Motion Comic, 2008 G.A.N.G. ödüllü
Watchmen Motion Comic ve Dirty Harry, Lennie Moore’un çalışmaları arasında yer alan
yapımlardan sadece birkaç tanesidir. Profesyonel çalışmaları dışında eğitimci kimliğiyle de öne
çıkan alan Moore, Pinnacle College’da “Game Audio & Interactive Media” (Oyun Sesi ve
Etkileşimli Medya) dalında Amerika Birleşik Devletleri’ndeki ilk akredite programı geliştirmiştir.
Moore, bunun yanı sıra UCLA Extension ve USC Thornton School of Music için oyunlar ve
ses/müzik üzerine çeşitli dersler tasarlamış ve uygulamıştır.
FEATURED EvENTS
(English)
Game Audio Theory and Practice
Stephen Harwood Jr. & Lennie Moore
[31 October Thursday, 14:30-16:00, FFB-022]
Game-curious? Interested in the video game industry but unsure of what exactly it is that we do
here? In addition to sound design, composition, engineering, and production supervision, game
audio development requires skill sets that are rarely encountered in the more familiar realm of
sound for film and TV. Taking post-production for traditional linear media as a point of
reference, this session will present the essential concepts and practical approaches used in the
creation of sound and music for video games (and other interactive virtual environments).
This session will be presented jointly by Stephen Harwood Jr. and Lennie Moore. Stephen
Harwood Jr is a composer, orchestrator and sound designer for video games and film. His credits
include Brothers in Arms: Road to Hill 30, Brothers in Arms: D-Day and Propaganda Lander
among many others. Harwood Jr has previously taught at New York University and worked as an
independent orchestrator for Greensboro Symphony Orchestra. He is currently an Adjunct
Professor of Game Audio at Mercy College and an Instructor of Game Audio at SAE Institute, New
York.
Perspectives on Recording, Mixing, and Mastering Contemporary Opera
Pieter Snapper
[1 November Friday, 14:30-16:00, FFB-022]
Contemporary opera production—and classical recording in general—is fraught with challenges
not encountered in mainstream studio environments. We will look at how to frame the
problems, as well as specific technical solutions through the lens of two recent opera projectsMichael Ellison's "Say I Am You/Mevlana" and Kamran Ince's "The Judgment of Midas." We will
listen to the works at different stages of production, examining how certain technical and
musical decisions shape the overall impact of the recordings.
Pieter Snapper, the founder of the MIAM studios and co-founder of Babajim Istanbul Studios &
Mastering, is a mastering engineer, producer, and composer of contemporary classical and
electronic music. His works have been played in the U.S., Europe, and Asia. He has received
awards from BMI, ASCAP, UC Berkeley, the Union League Foundation, and commissions from the
Fromm Foundation at Harvard University, Yamaha Corporation of America, the ensemble Eighth
Blackbird (three time Grammy-winners), and the Memphis Symphony Orchestra.
Preparing a Future in Audio Technology
Liz Teutsch
In its short-lived history, the field of audio technology has developed at a rapid pace. The
approach towards training in the profession has also modulated, and what began as an
apprentice-based system is now almost exclusively university-based, with many programs
largely focused on tools and technology. In an industry where these tools are changing as rapidly
as the industry itself, is this model sustainable and appropriate? Furthermore, where is the
industry headed, and as educators, students, and professionals how can we best prepare
ourselves for it? This dynamic panel of educators from around the globe will address these and
other questions as we discuss the future trajectory of the exciting and evolving field of
professional audio. Panelists include (in alphabetical order) Arda Eden (Inönü University,
Malatya, Turkey), Huseyin Hacihabiboglu (METU Informatics Institute, Ankara, Turkey), Stephen
Harwood Jr. (SAE Institute NYC and Mercy College, New York, U.S.A.), Lennie Moore (University
of California at Los Angeles (UCLA) Extension, California, U.S.A.) and Ufuk Önen (Bilkent
University, Ankara, Turkey).
Liz Teutsch, the former Director of Center for Digital Imaging Arts at Boston University, is an
Associate Professor and the Assistant Director of Academic Technology at Berklee Valencia. She
teaches courses in music production and technology at the Valencia campus, which launched its
new Master’s Degree in Music Technology Innovation this fall.
ETKİNLİKLER
(Türkçe)
Miks Semineri
Mehmet Uğur Memiş
[1 Kasım Cuma, 10:30-11:30, FFB-022]
ATMM 2013, tanınmış ses mühendislerinden Mehmet Uğur Memiş tarafından gerçekleştirilecek
olan miks atölyesine de ev sahipliği yapacak. İskender Paydaş, Peter Murphy, Feridun Düzağaç,
Volkan Başaran ve Ogün Sanlısoy, Mehmet Uğur Memiş’in birlikte çalıştığı isimlerden bazılarıdır.
Bas Gitar Tonunu Etkileyen Faktörler
Cem Tuncer
[1 Kasım Cuma, 16:00-17:00, FFB-022]
ATMM 2013, Ankara’nın tanınmış bas gitaristlerinden Cem Tuncer’i konuk ediyor. Artun Ertürk,
Pamela, Volkan Öktem, Dave Weckl gibi isimlerle çalışmış olan Tuncer, bas gitar tonlarının
kalitesini etkileyen faktörlerini ele alan bir seminer gerçekleştirecek.
Gürültüye Bağlı İşitme Kaybı
Handan Turan Dizdar
[31 Ekim Perşembe, 17:00-17:30, FFB-022]
Odyoloji uzmanı Handan Turan Dizdar işitme duyumuzu mercek altına alıyor. Kulak anatomisi
ve işitme fizyolojisi gibi konunun en temel noktaları başta olmak üzere akustik travma ve/veya
gürültüye bağlı işitme kaybı ve insan sağlığı üzerindeki diğer etkileri dışında söz konusu
durumlar için uygulanan tedavi ve korunma yöntemlerini paylaşacak.
PAPERS
(English)
E1 Sessions
A Generative Synthesis Drum Machine Model in Max/MSP
Y. Burak Tamer
Bahçeşehir University
This paper presents an interactive rhythm synthesis system implemented in Max MSP. The user
is expected to record four two-second samples of audio into buffer. These sound samples are to
be used as the voices of the instrument in order to be fine-tuned and saved into presets at the
end of the process if desired. The system aims for instant interaction and the user is encouraged
to explore the sonic environment he/she is in or has access to. Once the samples are ready, the
user can generate rhythmic sounds in the determined BPM, play variations through the pattern
generator and play tempo variations via the tempo modulation modules. The system model
presented is built with four voices yet it is modular and can be expanded to cover a wider range
of voices and irregular meter generation.
The Functions of Music and Sound in Tarkovsky's Films
Metin Çolak
Cyprus International University
The use of sound and music has caused several debates in filmmaking. While one group of film
directors asserts that the use of sound and music (especially music) increases the effects of
cinema, other group of directors propounds that its use decreases the strength of
cinematographic image and pulls it away from reality. Distinctions in views become especially
visible when the use of music is in question. Minimalist film directors, including Robert Bresson
and Ingmar Bergman, opposed the excessive use of music and saw and used it as the minimal
element of their film language. This point of view is shared by the Russian filmmaker Andre
Tarkovsky, who has a special status in the ‘auteur film’ tradition. His thoughts about the
minimalist use of music and sound in cinema can be found in his seminal work ‘Sculpting in
Time’ which contains his sincere ideas about life, art, culture and politics. His films, within this
perspective, confirm his views in this direction. At this point it must be stressed that while his
thoughts seem to contravene the excessive use of music, the soundtracks in his films become the
constitutive parts of the filmic narration within this minimalist usage. Typical examples are his
Solaris (1972) and Stalker (1979). This study examines the rationality behind the usage of
sound and music in Tarkovsky’s films. It focuses on the primary sound effects (especially in his
science fiction films) and the soundtracks of his films. In this context, especially his Solaris
(1972), Mirror (1975), Stalker (1979), and Nostalghia (1983) will be analyzed and compared.
E2 Sessions
Kyma: Programming Environment for Sound
İlker Işıkyakar
Cloud 18 Productions
Kyma is one of the most powerful and profound audio production systems available today... And,
it's easy to learn. Musicians, students and professionals around the world use it. Its superb
sound quality, interactive processes, and ease of running complex algorithms in real time, make
it an ideal path towards professional problem-solving in sound design, post production, film
scoring, game development, sound installations, live performance, research, and any other
creative musical application. Anybody who is serious about sound should give this wonderful
environment a chance. One may approximate aspects of it by assembling numerous other tools
at one’s disposal but, in the end, the workflow and "feel" with Kyma are different. Moreover,
Kyma itself is quite malleable, adjusting to the individual user's personality and needs, as long as
s/he commits to mastering it. Simply put, Kyma is less a product or tool and more a way of
working, a way of living the sound alchemist's reality. The longer one uses Kyma the more it
becomes one’s personal sound design workstation.
A System in Max/MSP and Java For Matching the Tuning in the Recording
Y. Burak Tamer & Barış Bozkurt
Bahçeşehir University
This paper presents a new tuner system implemented in Java. The main difference from existing
tuners is the use of one or more recordings as reference instead of theoretical presets. The
target here is to help the musician to tune her instrument as in one or more given recordings.
For that purpose, first, the fundamental frequency analysis is performed for the given
recordings. Then, pitch distributions are obtained and matched to get an overall distribution
plot. Finally, on the main display panel of the tuner, the real-time frequency estimate from the
input signal is plotted together with the pitch distribution. The musician adjusts her instrument
to match the frequency estimate of the input signal with a peak of the histogram to perform the
tuning operation.
Band Ant: Music Made By an Ant Colony
Buğra Karabey
METU Informatics Institute
Music composed and generated by life forms other than human beings have been investigated in
nu-merous studies. Within my work “Band Ant” the inherent rhythm, harmony and energy
within the movements and interactions of the members of an ant colony have been analyzed by
digital image processing techniques and utilized as the basis of a musical outcome. At the same
time, the swarm intelligence that forms the basis of these activities is mapped onto the domain
of music so that one can experience “evolution” at work as an artist.
E3 Sessions
vocoding Techniques in Audio Applications
Kürşat Pasinlioğlu
Voispectra
Originally being invented for enhancing the voice-carrying capabilities of the telephone lines,
potential usage of the vocoder in music productions was recognized in the following years.
Initial experiments performed with the vocoder then led to the progress of the electronic music,
and starting from the ’70s it was used in numerous albums. Due to its unique sound and
popularity, the vocoder is still a widely used effect in today’s music productions from various
genres. Obviously, creative usage of the vocoder requires some knowledge about the working
principle behind it, whether it is a hardware unit or software plug-in. In this paper, details of the
audio processing approach used in the vocoder are investigated with the corresponding typical
parameters and application techniques.
Aliasing in Audio Applications and Solution Approaches
Teoman Pasinlioğlu
Independent Researcher
Aliasing is an unwanted side effect when sampling analog signals if the sampling rate is not
adequate for covering the complete bandwidth or conversely the signal to be sampled has a
wider bandwidth for a given sampling rate. In this paper, the aliasing phenomenon is discussed
in detail and the necessary techniques used for eliminating the spurious signals formed as a
result of aliasing are overviewed. The simplest rule of thumb for sampling a continuous signal is
to set the sampling frequency at least twice as much as the highest frequency component
appearing in the signal. This is known as the Nyquist Criteria and the highest frequency allowed
is the Nyquist Frequency which is half the sampling frequency. The criteria is the condition used
for the lossless recovery of the signal when converted to analog from digital form. In practice,
analog signals are digitized using analog-to-digital converts (ADC) by sampling, quantizing and
encoding the signal successively, and are reproduced by digital-to-analog converters (DAC) using
a reconstruction or anti-imaging filter. ADCs usually come with one or more sampling rate
options for the user depending on the application area and specific needs. Any given sampling
rate specifies the maximum allowable frequency that can be reproduced correctly without any
disturbance by the aforementioned Nyquist limit. The so-called Anti-Aliasing Filter structure is
widely used for taking care of the aliasing phenomenon occurring in audio applications as well
as in other areas requiring sampling process for that matter.
BİLDİRİLER
(Türkçe)
T1 Sunumlar
Reklam İletişiminde Kullanılan Müzik Tasarımının Hedef Kitle Üzerindeki Rolü
Zekiye Tamer Gencer
Sivas Cumhuriyet Üniversitesi
Toplumsal yaşamın bir parçası olarak incelenen ve değerlendirilen iletişim, bireylerin yaşam
süreçlerinde ihtiyaçduydukları bir kavramdır. İletişime eğitimden sağlığa, aile yaşantısından
tüketime, haber ve bilgi almadan ticari süreçlere kadar hayatın her alanında gereksinim
hissedilmektedir. Ayrıca bireyin gelişmesinde ve değişmesinde de iletişim önemli rol
oynamaktadır. Bu bağlamda gelişen teknolojiyle beraber evrende bulunan tüm ses, söz, sembol
ve işaretler bir iletişim parçası olarak karşımıza çıkmaktadır. Bu çalışma kapsamında iletişimin
ticari boyutunda önemli bir yeri olan reklam iletişiminde kullanılan görsellik ve müzik
incelenmiştir. Farklı araştırmalarla ortaya konan reklam müziklerinin etkinliği konusunda
yapılan bu betimleyici çalışma, sunulan literatür taraması ve reklamın müzikle olan ilişkisinde
önemli yeri olan reklam cıngıllarının açıklanması üzerine kurgulanmıştır.
Müzik Teknolojisi Eğitiminde Türkiye'deki Devlet Üniversitelerinde Uygulanan Modeller
Üzerine Bir İnceleme
Server Acim
İnönü Üniversitesi Devlet Konservatuvarı
Türkiye’deki devlet üniversitelerinde “Müzik Teknolojisi Eğitimi”, birbirinden farklı eğitim
modelleri ve öğrenci seçiminde uygulanan kriterler bağlamında birbirinden farklı sonuçlar
doğurmaktadır. Ayrıca Müzik Teknolojisi Eğitimi, Yükseköğretim Kurumu tarafından yeni yeni
tanınmaya başlanan bir eğitim modeli olmaya başlamıştır. Bu olgular göz önüne alındığında,
Türkiye’deki devlet üniversitelerinde “Müzik Teknolojisi” alanında eğitim vermeye başlayan ilgili
kurumlarda gelişen yapısal dokularda ve öğrenci seçimi kriterlerinde uygulanan yöntemler,
çeşitli sonuçlar doğurmuştur. Bu çalışmada, bu sonuçların artıları ve eksileri masaya
yatırılacaktır.
Türkiye'de Klasik ve Çağdaş Müzik Prodüksiyonlarında Ses Mühendisi ile Sanatçı Arasındaki
İletişim
Can Karadoğan
İTÜ TMDK & MIAM
İlerleyen kayıt teknolojisiyle birlikte evrilen müzik yapım yöntemleri günümüz sanatçılarını
olumlu veya olumsuz şekilde etkilemektedir. Yıllarca canlı icra konusunda tecrübe biriktirmiş
bir icra sanatçısı bile stüdyo kaydına girdiği zaman sıkıntılar çekebilmektedir. Aynı şekilde
oldukça fazla kayıt tecrübesi olan bir sanatçı ise teknolojinin olanaklarından tartışmalı bir
şekilde faydalanabilmektedir. Sanat yönetmeni (producer) rolünün tam olarak doldurulamadığı
birçok kayıt projesinde, bu rolün vermesi gereken birçok karar mecburen ses mühendisine
yıkılmakta olup sağlıksız sonuçlara yol açabilmektedir. Bu bildiride, işte bu sıkıntılı iletişim
sorununun çözüme yaklaştırılabilmesi için çok kanallı klasik veya çağdaş müzik kayıt
projelerinde iki esas aktör olan ses mühendisi ve sanatçının üzerine düşen görevler ve de bu
aşamaya gelene kadar alacakları müzik eğitimi için öneriler tartışılacaktır.
T2 Sunumlar
Tını Araştırmalarında Sistematik ve Yenilikçi Bir Yaklaşım İhtiyacı
Sair Sinan Kestelli
İTÜ MİAM
[1 Kasım Cuma, 10:00-10:30, FFB-005]
Tını, sıklıkla sesin perdesi ve dinamiği dışında kalan ve bir ses kaynağının diğerinden ayırt
edilebilmesini sağlayan özellikleri olarak tanımlanır. Bu tanım, gerek tınının 'ne olduğundan
ziyade ne olmadığını' belirtmesi, gerekse tınıyı sadece ses kaynağı üzerinden açıklamasıyla
bulanık bir kavramsal çerçeveye sahiptir. Tını aynı zamanda, teknolojinin hızlı gelişimi sayesinde
sesin işlenebilmesi açısından neredeyse sınırsız olanaklar sunan stüdyolarda sesin en çok
tartışılan özelliği haline gelmiştir. Ancak, bu tartışmalarda, genellikle kişisel deneyimlere dayalı
bir terminoloji kullanılmakta ve profesyoneller arası iletişimde kopukluklar yaşanmaktadır.
Gerek tınının çok boyutlu ve karmaşık yapısının göz önüne alınarak yeniden tanımlanması,
gerek bu iletişim kopukluklarının giderilerek tınıyla ilgili ortak bir terminoloji oluşturulması,
gerekse son dönem araştırmalarında işitsel algı yanında; görsel ve kinestetik algıyla bütünlüklü
şekilde anlamlandırıldığı kanıtlanan tını kavramının, son dönemde ortaya çıkan teknolojik
araçlar kullanılarak ve çok disiplinli bir şekilde araştırılmasıyla, tını çalışmaları sistematik hale
getirilebilir ve berrak bir kavramsal çerçeveye oturtulabilir.
Mikrotonal Perdelerin MIDI İle Seslendirilmesi: Bir Max/MSP Çalışması
Serdar Çelik & Arda Eden & Gülay Karşıcı
Cumhuriyet Üniversitesi & İnönü Üniversitesi & Erciyes Üniversitesi
[1 Kasım Cuma, 10:30-11:00, FFB-005]
Bilgisayar ile müzik ilişkisi içinde çok önemli bir yere sahip olan MIDI günümüzde sadece
tampare perde sistemini kullanan tonal müzik için kullanılabilir durumdadır. Dolayısıyla, Türk
makam müziğininde içinde bulunduğu pek çok mikrotonal perde sisteminin MIDI'ye
uyarlanması ve mikrotonal perde sistemlerinin Digital Audio Workstation'lar ile kullanılması
mümkün değildir. Araştırmamızda mikrotonal perdelerin MIDI ile seslendirilmesi ve Digital
Audio Workstation yazılımı içinde kullanılabilmesine yönelik Max/MSP tabanlı bir mikrotonal
MIDI arayüzü programladık. MIDI arayüzünün programlanmasında kullanılan MIDI Channel
Voice mesajlarıyla oluşturulan algoritma, MIDI arayüzünün sunumu, mikrotonal perdeleri
seslendirmedeki yeterliliği ve nasıl kullanılacağı gibi temel konular araştırmamızın içeriğini
oluşturur.
video Oyun Sektöründe Kullanılan Ses Tasarımı Teknikleri, Sanal Müzisyenlik Kavramı ve
Değişen Müzisyenlik Pratikleri: Rocksmith Oyunu Örneği
Suat vergili & Aykut Çerezcioğlu
Dokuz Eylül Üniversitesi
[1 Kasım Cuma, 11:00-11:30, FFB-005]
Video oyun sektöründe gelişen prodüksiyon teknikleri ile giderek daha kaliteli soundtrackler
oluşmakta, sanal deneyimin başarısı ve gerçekçiliği artmaktadır. Kullanılan prodüksiyon yöntem
ve tekniklerindeki gelişmeler farklı türlerde oyunların da önünü açmış, oyunseverlere daha önce
yaşamadıkları deneyimleri yaşama imkanını sağlamıştır. Bu bildiride Rocksmith oyunu özelinde
öncelikle video oyun sektöründeki ses tasarımı teknikleri üzerine bilgiler verilecek, daha sonra
sanal gerçeklik ortamında müzik icrası, müziksel becerilerin gelişimi ve bu sanal gerçekliğin bir
sanal deneyime ne şekilde dönüştüğü anlaşılmaya çalışılacaktır.
T3 Sunumlar
Zaman Kodlu Senkron Sorunlarının Kökeni
Cihan Işıkhan
Dokuz Eylül Üniversitesi
[1 Kasım Cuma, 14:00-14:30, FFB-005]
Senkron (eşgüdüm, synchronization), donanımlar arasında uygun adım hareketi sağlayan bir
iletişim, sistemin bir merkezden yönetilmesine olanak tanıyan makinalar arası bir protokoldür.
Eşgüdüm sayesinde iki ya da daha fazla donanım zaman ve hız değerlerinde anlaşıp uyum içinde
çalışır veya çalışması beklenir; çünkü özellikle yoğun içerikli profesyonel ses kayıt
uygulamalarında teoriyle pratik her zaman örtüşmeyebilir ve eşgüdüm kaynaklı ciddi sorunlar
ortaya çıkar. Bu sorunların pek çoğunun bağlantı, ayar ya da kullanım hatasından ortaya çıktığı
düşünülse de aslında hiç de azımsanmayacak kadarı eşgüdüm tipinden, seçilen protokolün
olağan yapısından kaynaklanır. Bu çalışma, teorik olarak hiçbir sorun olmayacağı beklentisiyle
yola çıkılan uygulamalarda bile yalnızca seçilen zaman kodlu (time code) eşgüdümün dijital
yapısı gereği ortaya çıkan ciddi sorunları, sorunların kaynağı olan protokollerin içyapıları ve
çözüm önerilerini içermektedir. Sözü edilecek protokoller, uygulamalarda en çok kullanıldığı
tespit edilen ve geleneksel zaman kodu SMPTE’nin MIDI protokolündeki temsilcisi MTC ve
türevleriyle (tam kare, MMC vs.), özel bir otomasyon eşgüdüm sistemi olan HUI’dir. Çözüm için
otomasyonun devreye girdiği HUI’yi bir tarafa bırakacak olursak, MTC’nin ana hatlarıyla bir
çeyrek kare mesajı olması, MMC’nin ise içinde tam kare MTC’yi barındırmasına rağmen klasik
bir SysEx yapısı taşıyor olması, zaman kodlu eşgüdüm sorunlarının en önemli kökenidir.
Kontrol Odalarında Tasarım Yaklaşımları
İsmet Emre Yücel
Sakarya Üniversitesi Devlet Konservatuvarı
[1 Kasım Cuma, 14:30-15:00, FFB-005]
Kontrol odaları 1950’li yılların ortalarına kadar ses stüdyolarının bir kenarında gelişigüzel yer
almaktaydı. Stereo kaydın popüler olmaya başladığı ve tüketiminin arttığı 50’li yılların
sonlarında önemi artan kontrol odaları, tasarım yaklaşımları açısından o yıllardan günümüze
değişiklik geçirerek gelmiştir. LEDE, RFZ, Non-Environment, CID, ESS gibi kontrol odası
tasarımlarındaki farklı yaklaşımların ortak özelliği miks mühendisine kaydın aslına sadık
kalacak şekilde bir dinleme ortamı sağlamaktır. Bu yazıda kontrol odalarının geçmişten
günümüze tasarım yaklaşımlarının, mevcut ve ulaşılabilen kaynaklar ışığında ortaya konması
amaçlanmıştır.
STUDENT PRESENTATIONS
Mobile Applications as the Future Music Playback Medium
Ozan Sarıer
ITU MIAM, PhD Student
[31 October Thursday, 16:30-17:00, Foyer]
This session is the demonstration of the ideas and software that was developed for Sarıer's
master thesis, titled “Mobile Applications as the Future Music Playback Medium”. Today's mobile
systems are capable enough to process and mix multi-track audio reminiscent of digital audio
workstations found in recording studios and music production facilities. This capability of
on-the-fly mixing leads the way to music playback in the form of mobile applications which
allow user interaction and dynamic output. With this new form of music playback medium,
many new ways of dynamic playback scenarios which can result in augmented user experience
become a possibility. This thesis aims to be a guide to the development of future frameworks
and standards by discussing the possibilities, benefits, problems and design considerations
associated with the next generation of music playback systems that use mobile applications as
their medium.
Ensample: Practising Recordings as Musical Instruments
Sair Sinan Kestelli
ITU MIAM, PhD Student
[1 November Friday, 15:30-16:00, Foyer]
This session is the demonstration of Ensample, a custom-built, sample based digital musical
instrument which uses positionmeters, infrared proximity sensors, pedals and common MIDI
devices for its controller part and various tools created with Max/MSP and Ableton Live for its
sound generation part. Hardware part of the instrument consists of a Sensor System Eobody 2
8M Sensor Box, 3 Positionmeters, 2 Infrared Proximity Sensors and 1 Sustain Pedal, 1 Novation
Launchpad and 1 M-Audio XSession Pro midi controller. Software part of the instrument was
designed on Cycling 74' s Max Software and Ableton Live. The main idea is to extract timbral,
rhythmic and melodic possibilities out of a digital recording and use these possibilities to enable
the practice of sound recordings as musical instruments through improvisations, compositions
and performances for various samples and controllers.
PERFORMANCE
Turning Points
Aida Shirazi
In her own words: "This work consists of five excepts from the very first musics I have heard in
my life. They are so familiar that I cannot really decide whether they are a part of me, or I belong
to them! My intention for choosing this collection was association of each of these musics with a
milestone of my life. In other words, these musics narrate the (literally) turning points of my
life."
REMOTE: RELOCATING SOUND
Remote: Relocating Sound project is developed to trace the new mental maps through
sound-art. In a period in which geographical positioning is losing its importance, the project
aims to question how the production which focuses on sound-art in Turkey, Germany, Bulgaria,
and Greece position itself.
Remote: Relocating Sound project creates platforms of discussion on various subjects related
with the current focusing points of contemporary sound-art milieu. The expressive potentials of
sound-art performances, sonification of scientific data, interpretation of remote information are
some of the topics of presentations, workshops, and performances.
Remote: Relocating Sound, curated by Başak Şenova, is a joint project of ArtUP!, NOMAD and
Bilkent University.
Participants of the project are Marcus Schmickler (Germany), HR Stamenov (Bulgaria), 1000
names (Bulgaria), Medea Electronique (Greece), and NOMAD (Turkey).
NOMAD: Erhan Muratoğlu - Emre Erkal - Başak Şenova
NOMAD was founded in 2002 as an independent formation and registered as an association in
2006. NOMAD aims to produce and experiment with new patterns in the digital art sphere by
using the lenses of various other disciplines. NOMAD's production network aims to build strong
connections across territorial borders through digital culture-oriented projects; initially in
Europe and the Middle East, then in other areas. The main goal of these projects is to establish a
productive communication channel that facilitates access to new information resources. Since
2002, NOMAD has developed numerous local and international projects, including festivals,
exhibitions, performances, multimedia events, experimental film screenings, lectures, panels,
and publications. For the last few years NOMAD has produced one or two projects per year as
opposed to the extensive production rate from 2002 to 2008. Most recently, NOMAD has been
focusing on archiving and publishing as another mode of operating that has a less immediate
output. http://www.nomad-tv.net
Recording Strategies Day 1
Paul Devens
A microphone plays different roles, in all its variations from instrument, filter, snapshot medium,
broadcaster to telescope, magnifying glass, etc. Often it is a metaphor; more often it's an
intermediate in a power relation. What does it mean when the recording microphone is
introduced in an everyday environment of people who don't expect it, and the recordist has total
freedom to manipulate the recordings? The workshop will reflect on this by given examples
from contemporary culture and works from the art practise of Paul Devens. On the first day of
the workshop, there will be an introduction, reflecting on the techniques and theories. Then, a
small assignment will be handed out.
Recording Strategies Day 2
Paul Devens
On the second day of the workshop, the assignment will be discussed. Please bring recording
equipment such as video-cameras, voice recorders, phones with a recording function, etc.
Medea Electronique
Medea Electronique compromising of Manolis Manousakis (Sound Artist), Michael Larsson
(Video Artist), Ioanna Kambylafka (Performer), Kleopatra Korai (Animator), Yannis Lolis (Video
Artist Designer), Christos Laskaris (Painter), Tim Wart (Composer), Haris Germanidis (Video
Artist), Panatiotis Goubouros (Animator), Eric Lewis (Improviser), Theodoris Zioutos
(Improviser / Sound Technician), Aggeliki Poulou (Curator) presents some selected works.
These works include Soundscapes/Landscapes (Interactive AV Installation, 2013), Beyond
Reasoning (Video Installation, 2012), Koumaria Residency 2009-2013, EPIC (Video Art-2012),
Electric Nights (Electronic Arts Festival, 2012), Fragments of the Unseen (Interactive
Performance, Video Installation 2010-2012), EMW (Electronic Arts Festival, 2010), and
Monotonia (Video Installation, 2010).
Sounds From the Sky
HR Stamenov
The interaction of scientific experiments and media impressionism will be traced through the
collaboration of two artists which resulted in a new media work. In 1979 Alzek Misheff working
with the group for Mathematic Calculation at the Institute of the National Research Council in
Pisa created a sound interpretation of the color slides from Andromeda Galaxy. The experiment
and performance using and disseminating sounds of a cosmic origin was realized in Milan. In
2011 HR-Stamenov installed the artwork Space 0 Space in Venice. Using high voltage lighting
equipment and powerful sound, he reproduced a thunderstorm with lightning inside a 17th
century palazzo. The cooperation between Stamenov with his experiments to "capture and
control” natural phenomena, and Misheff with the aforementioned and other experiments, led to
the media performance The Nightmare of Prometheus (2011).
1000names
Long before the current wave of Russian and Eastern European 'beats and glitch' producers,
Bulgarian duo 1000names were in at the foundation of the sound, debuting with the now classic
Melonball Bounce alongside Rustie on Beatnick’s Vol 1 in 2007. Taking their name from an Anish
Kapoor sculpture, 1000names is identifiably part of the global beats scene. 1000names presents
some samples from their collection.
Exhibition: Medea Electronique: "Beyond Reasoning"
[31 October Thursday, 19:00 (opening and reception), Goethe-Institut]
“Beyond Reasoning” is a four channel audio visual installation piece inspired by Attalis work
Noise. Noise is a resonance that interferes with the audition of a message in the process of
emission. It is any disruption of any social process, any source of pain. Noise necessarily
produces resistance in the mind, creating a “critical distance” via a “body/mind rupture.”
In Medea Electronique’s Beyond Reasoning, noise represents the inability to express any
emotion of resistance. The reaction of the four characters (who stand defenseless in front of the
camera) to the soundtrack represents their failure to react against the establishment. In large
the project is inspired by the recent economic crisis and the subsequent crisis in moral and
values…
Performance: Marcus Schmickler "particle/matter-wave/energy"
[31 October Thursday, 19:00, Goethe-Institut]
For his performance, Schmickler shows compositions based on sonification: Bonn Patternization
is based on astrophysical data that asks the question: "What does it sound like when galaxy
clusters of 30 objects reciprocally influence each other by means of gravitation?". Using data
gathered by researchers at Germany’s Argelander Institute of Astronomy, Schmickler will collide
first two, then three simulated galaxies.
Another composition is based on sonifications of contemporary mathematics. Is it possible to
perceive changes in a society through changes in its music? Is it possible to understand
contemporary music through its implicit relationships with money? And how better could we
describe the disciplines of music and economics than through mathematics, their common
foundation?

English - ATMM Conference

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