Join our Symposium on Sound

kling gut! 2017 will start in:

About

The Hamburg University of Applied Sciences and the Audio Engineering Society Hamburg Student Section are pleased to announce the third installment of klingt gut! International Symposium on Sound
at the Arts and Media Campus in Hamburg.

For three days, international artists and scientists will present their work in the fields of sound design, sound art, electro-acoustic music, and forward-looking audio technologies.
Participants will enjoy a series of informative lectures, hands-on workshops, and interactive panel discussions as well as cutting edge installations and performances at Germany’s most state-of-the-art media campus.

Tickets

REGISTER NOW FOR KLINGT GUT! 2017

PLEASE NOTE: Online ticket sale for klingt gut! 2017 has ended.
Tickets will only be available on-site at the correspondig prices.

PLEASE NOTE: Special rates for groups of 5+ / 10+ on request.

Program | Exhibitions | Contributors

  • Program
  • Exhibitions
  • Contributors
09:00
10:00
11:00
12:00
13:00
14:00
15:00
16:00
17:00
18:00
19:00
20:00
21:00
22:00
23:00
Thursday
Thursday
Thursday
Tour: Planetarium
12:30 - 14:00
Tour: Planetarium
Tour: Planetarium
Linnering 1 (Stadtpark)
22299 Hamburg
12:30 - 14:00

Immersive Experience
UHD Fulldome Video & 3D-Audiob

more to be announced...
www.planetarium.hamburg.de

L1 | Immersive Audio #1
14:00 - 16:30
L1 | Immersive Audio #1
Forum Finkenau
Ground Floor
14:00 - 16:30

Vilkaitis & Wiggins

King Lear in Surround – Theatrical Ambisonic Sound Design

Why is theatre sound mostly based on the proscenium arch? This paper and demonstration aims to demonstrate the advantages of using (3rd order) ambisonic sound design in a live theatrical production. This production of Shakespeare’s King Lear was set in a Catholic mental asylum giving great artistic scope to the sound designer. Within the asylum, soundscapes include a chapel, electroshock therapy, the gouging of Gloucester’s eyes and music by Arvo Pärt. Surround sound creates an immersive theatre experience for the audience. A section of the production was recorded in 360 video to create a VR experience with 1st and 3rd order head tracked renderings of the sound design.

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Alexander Vilkaitis

United Kingdom

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Bruce Wiggins

United Kingdom

Werner & Wiggins

Guitars with Ambisonic Spatial Performance

Guitars with Ambisonic Spatial Performance’ (GASP) is an ongoing project where our expertise in surround sound algorithmic research is combined with off-the-shelf hardware and bespoke software to create a spatial multichannel surround guitar performance system. The GASP project seeks to bring a new musical experience to the guitarist, and has resulted in a new VR ready, performance instrument. This demonstration showcases three Higher Order Ambisonic mixes created with the software and workflow developed and refined for the system, whilst also presenting the original, mono, guitar track that the production was created from for comparison

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Bruce Wiggins

United Kingdom

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Duncan Werner

United Kingdom

Bahia

Experimental Sound Design for Wave Field Synthesis

Experimental Sound Design for Wave Field Synthesis: Employing Low-Quality Voice Recordings into Spatial Audio for Art Installation. This paper works in the intersection between high-technology for immersive media, namely object oriented audio and conceptual sound installations using low-quality sound material. I explore the issue through my artistic research called This Alienness and Me, where I present personal voice recordings made with cellphone. Sounds are juxtaposed with the use of Wave Field Synthesis, in order to create an immersive sound installation. I explore the concept of fidelity in sound reproduction and trace its connections with the matter of identity and self through the recorded voice. I analyse art projects that use low-quality audio to address the matters of self and contend that this unearth alternative understandings of experimental sound design for spatial audio.

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Mariana Bahia

Germany

Batke

Virtual acoustics for concert advertisement

"Vision Kirchenmusik" is a project group to find new concepts for presenting church music. One of the most recent projects is the concert advertisement and preparation presenting the St. Luke Passion composed by Krzystof Penderecki. This contribution reports on the audio production carried out for a guided inner city walk presenting light art and sound installations. In particular, the binaural synthesis of reverb using Higher Order Ambisonics is discussed.

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Johann-Markus Batke

Germany

Iber

soundalike:music collection

soundalike:music collection is an ongoing software based work in progress. Audio files are processed by partial tracking analysis and re-composed to orchestra scores of almost arbitrary instrumentation. The scores can be understood as musical counterparts to pointillistic paintings or pixelated photographs including editing techniques such as zooming (in terms of musical time: augmentation/diminution) or change of resolution. In the context of ongoing discussions about authorship in the era of digital technologies, soundalike:music collection is an interplay between the shining through of a well-known original and the generation of a new musical piece. Soundalikes are interpretations of musical pieces that have been coined, sometimes even contaminated, by non-musical contexts. They have lost their musical autonomy and become icons of our culture.

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Michael Iber

Austria

L2 | Keynotes
17:00 - 18:30
L2 | Keynotes
Forum Finkenau
Ground Floor
17:00 - 18:30

Sabine Breitsameter

Sculpting with Sound: The Aesthetic Specifics of 3D Audio
Artistic research with a potentially new medium

This talk unfolds aspects of 3D audio, its aesthetic possibilities, and introduces to a current artistic research project within this quite recent field. It dwells on the question, how new technologies relate to the expansion of creativity, and under which conditions new technologies can bring art and design further. Art and music history play here a role beyond mere academic interests, and can give guidance within artistic research processes. - Focusing on the question of aesthetic necessity and motivation to compose and design with 3D-audio, Breitsameter will raise the topic of 3D-audio's specific sound qualities and dramaturgies. Can 3D audio be more than just a new technical sensation? What can be created by 3D sound, which had been not possible before? How does it relate to the notion of VR-Audio?

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Sabine Breitsameter

Germany

David Claringbold

Sound Futures

In this presentation David will explore the theme of the Sound in the Environment and how sound technology will address the creative potential and regulatory issues of the future. The presentation will consider the human auditory experience and take a innovative look at the future interactive potential of the built environment, nature and sound technology.

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David Claringbold

Australia

Barry Truax

Acoustic Space, Community and Virtual Soundscapes

The acoustics of a space, particularly an enclosed one, has been extensively studied over the last 100 years, resulting in a significant body of theoretical and applied literature. Although the acoustic complexity of real spaces may exhibit subtleties that require further research, the general principles involved seem well established. However, the perception of acoustic space – how we interpret sound as creating a sense of space – is not well understood. Perhaps the greatest impediment is our reliance on visual models of space which are relatively stable and detailed, giving us the impression that space is a fixed entity through which we can move. Auditory space, on the other hand, is constantly in flux, created moment by moment and variable to each listener. In the most general sense, acoustic or auditory space is at the core of acoustic ecology, that is, the relationship of individuals to their environment as mediated by sound, including the creation of what I call the acoustic community. Recently, a number of composers have begun studying the acoustic spaces created by various soundscapes, with the aim of evaluating the quality of their design, as well as finding inspiration for what is generally termed soundscape composition. Multi-channel reproduction techniques have greatly aided these latter efforts, and created a virtual three-dimensional design field comparable to architecture. The presentation will discuss issues surrounding acoustic space, soundscape design and multi-channel soundscape composition.

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Barry Truax

Canada

Opening Ceremony
19:00 - 23:00
Opening Ceremony
Forum Finkenau
Ground Floor
19:00 - open end

Champagne Reception
Special Performance - Sharma: Mirage for IKO

EXHIBITION OPENING
19:00 - 23:00
EXHIBITION OPENING
19:00 - open end
Every day from 10 am

Artist:

Brandes / D'Amato / Deboy & Monte / Dévény / Endreß / Fausti / Ferrazza / Forreiter / Frick / Ge / M.Harding / Henze & Mehlis / Ka’Mi / Kempf / Lange / Mayer / Mizithras / Mohammadi / Pastorino / Rebholz / Rehberg / Rehm / Rex / Rex & Brandes / Riemer, Kühne Escolà, Schleiner, Brüning, Lohf & Witte / Savva / Scholz / Sheth / Shih / Shimano-Bardai / Steinbichl, Elsner & Melús Vélez / Sünderhauf / Terzaroli / Varoutsos / Vejnovic / H.T.Wang / D.Wang / Yang / Zhou

Bahia / Förterer / Harju / Herrmann / Körperich / Kuß / Linder Loden / Mai-Rienecker-Hentig-Kessling / Schwarz / Targosz & Szczesny / Rauch-Marz-Bednasch-Veenstra

For more informations click on Exhibition at the top.

Friday
Friday
Friday
L3 | Film Sound
10:00 - 12:00
L3 | Film Sound
Forum Finkenau
Ground Floor
10:00 - 12:00

Hayward

Exploring the Use of Sound in Film and Television Productions

“Sound is half the picture,” said George Lucas, as the story goes. Indeed, sound and sound design is just as important to narrative film and television as the visual storytelling that cinematographers revere. What are the ways that sound can uniquely deliver story information? How can the audio component of a narrative deliver story details when pictures cannot? In this talk we will look at the basic strategies of diegetic and non-diegetic sound in narrative film and TV, and discuss how sound design affects that storytelling. Examples will be drawn from film and television productions as well as selected student short films.

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Kent Hayward

USA

Lensing

French connection - an international vocabulary for the description of audio-visual effects

The vocabulary to sound creation in movies is mostly technical. The vocabulary to the classical film analysis concerning sound is very much focussed on emotionallity/functionallity. An obliging (international) vocabulary to the description on picture clay to phenomena or on audio visual interaction does not exist up to now?
Nevertheless, there is this vocabulary into three languages, created by the French composer and scientist Michel Chion..
The talk is an introduction to this vocabulary. If this vocabulary would be used outside the scientific writings also by people working in filmsound and in film (authors, direction, editing), the (German) filmcreating would have the chance to new working models and to the high-class increase away from film stereotypes, soundtrack-marketing interests or emotional stammering.

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Jörg Lensing

Germany

Görne

Emotional Impact of Sound: A Theory of Film Sound Design

The proposed paper investigates film sound design from the viewpoints of human perception, psychology and communication science. A special focus is set on the semantics of sound, communicated by means of cross-modal metaphors and archetypal symbols, on attention guiding and inattentional deafness, and on the effects of unconcious (pre-concious) automatic information processing.

S. Harding

The Secret World of Foley

The lecture will discuss Foley work using the the example of the acclaimed short film "The Secret World of Foley", starring the author.

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Sue Harding

United Kingdom

FutureTalk | Immersive Technologies
10:00 - 12:00
FutureTalk | Immersive Technologies
Licht Labor
Third Floor
10:00 - 12:00

Immersive Technologies
The panel discussion with prominent panelists including artists, content producers and representatives of the media tech industry will focus on the challenges in content production in times of digital immersive media.
Host: Prof. Sabine Breitsameter | sonic-media-art.net

T1 | Large Scale Live Music Production
10:00 - 11:00
T1 | Large Scale Live Music Production
HFBK Studio
Ground Floor
10:00 - 11:00

Large Scale Live Music Production
Kessler & Koll
End of 2015 the KOHAR Symphony Orchestra and Choir produced "Live in Beirut 2015", a song anthology of 100 "All Time Armenian Favourite" songs which were recorded during 4 show days. A Hamburg based engineering service was responsible for the live sound design system incl. FOH and monitor system as well as the LIVE recording and postproduction of the DVD and 3D Audio BluRays. The audio network expert Arthur Koll will present the audio signal flow of the on location production. He was also the monitor engineer of 4 concert nights and will present special challenges of an 147 channel live production with an international team and about 150 artists. Ralph Kessler will present his sound design ideas for 2000 people with massive manipulation of the originally bad acoustics of a 3.6 second exhibition hall by means of a unique immersive PA system and special software for virtual acoustics. He will also talk about the workflow of the 12 month prostpro for the 4 DVD / BluRay set mixed in stereo and 3D (Auro-3D and Dolby Atmos).

T2 | Landmarks on the Road to Full 3D
11:30 - 13:00
T2 | Landmarks on the Road to Full 3D
HFBK Studio
Ground Floor
11:30 - 13:00

Michael Williams

Landmarks on the Road to Full 3D

Michael Williams, "godfather" of multi-channel microphone techniques, will demonstrate recording and playback techniques for 3D audio.

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Michael Willliams

France

P1 | Performances
12:30 - 15:00
P1 | Performances
Produktions Labor
Ground Floor
12:30 - 15:00

Ramicevic

Cooling The Music

Cooling the Music is a piece of object-oriented composition in search of brand-related sound quality, principally based on sound samples taken out of the fridge while considering the fridge for a musical cold body. The piece, itself, has been executed by using different recording modes of the raw sound material and exploring various compositional techniques of its live performance, focussing on the coldness of the sound source.

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Mersid Ramicevic

Serbia

Haghigi & Maroun

Subjective Dissonance

Subjective Dissonance is an intermedia project that explores the interaction between a dancer and the sounds produced by her own performance. The dancer’s sounds are not only amplified, but also captured in real time to be manipulated and then be sent back as such to the dancer. The dancer reacts and interacts with the new sound stimuli, cooperating to the development of the sonic environment. The subjectivity of the producers thus to contribute to the overall performance and the accumulation of layers of subjective meaning, producing a performative growth. The outcome lacks predictability as Subjective Dissonance’s procedure is based on improvisation.

Byrne

Proprioception

The physicality of performance is something that I am interested in exploring within the context of electroacoustic music. My goal is to achieve a stronger connection between the performer, the composer and the audience by linking physical gestures with musical gestures.
This piece, entitled Proprioception, is one example of my research into this topic so far. It uses the Xbox Kinect along with Csound and Processing to create and manipulate musical gestures in real-time.

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Shane Byrne

Ireland

Müller

Electrifying Clarinet

Rare and unusual clarinet instruments paired with live electronics are the core of this improvised program. Not only does Nora-Louise Müller play the uncommon alto clarinet, she also is one of very few clarinetists worldwide to perform in unusual tuning systems such as Bohlen-Pierce. A custom-made clarinet plays this extraordinary scale – the perfect twelfth divided into 13 steps –, resulting in a spherical sound of other-worldly harmonies.

Ressi

game_over_0.1.1

In this performance, a clarinet player navigates a character in a "Shoot'em up" style computer game via a motion sensor while improvising. Everytime he manages to kill an enemy, the game soundtrack changes in a certain way, transforming from an early 90s arcade music style to something more and more abstract. The performer can interact with the game AI and exploit the game mechanics to provoke certain musical structures. The game itself is written in C++, the sound comes from a Roland D-110 sound module which is controlled via Pure Data.
The performance is a reflection on the role of the individual within a system of constraints and searches for the expressive potential of rebellion against predefined rules.

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Christof Ressi

Austria

VR Demos
12:30 - 14:30
VR Demos
Lichtlabor
Third Floor
12:30 - 14:30

Lin, Schaller & Graham, Deschamps, Gallagher, Vincent de Koning

VR Demos

more to be announced...

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Benjamin Gallagher

USA

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Tobias Deschamps

Germany

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Vincent de Koning

Netherlands

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Yi-Cheng Lin

Taiwan

T3 | Ambience Recordings
14:00 - 15:30
T3 | Ambience Recordings
Tonlabor
Third Floor
14:00 - 15:30

Andriessens & Hoffmeister

Importance of Channel Separation and Time-of-Arrival-Differences for 3D Ambience Recordings

3D-audio microphones or microphone-setups as currently offered or suggested, only deliver unsatisfying results in vertical crosstalk between horizontal speaker layers. This means “ground-based” sound-sources unintentionally play back from ceiling speakers. Additionally, many of them offer only a very small “sweet spot” - the smaller the microphone or microphone setups, the worse. Coming from a film background and being faced with a growing demand for sound design for 3D-audio productions in different media, we developed our own setup, focussing on minimized vertical crosstalk and optimized suitability for playback in large venues as cinemas. We are going to present a comparison of recordings made with several different microphone setups, ranging from Ambisonics to wide spaced cardoids, and would like to discuss the results with the audience.

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Andriessens | Hoffmeister

Germany

T3 | Ambience Recordings
14:00 - 15:30
T3 | Ambience Recordings
Tonlabor
Third Floor
14:00 - 15:30

Andriessens & Hoffmeister

Importance of Channel Separation and Time-of-Arrival-Differences for 3D Ambience Recordings

3D-audio microphones or microphone-setups as currently offered or suggested, only deliver unsatisfying results in vertical crosstalk between horizontal speaker layers. This means “ground-based” sound-sources unintentionally play back from ceiling speakers. Additionally, many of them offer only a very small “sweet spot” - the smaller the microphone or microphone setups, the worse. Coming from a film background and being faced with a growing demand for sound design for 3D-audio productions in different media, we developed our own setup, focussing on minimized vertical crosstalk and optimized suitability for playback in large venues as cinemas. We are going to present a comparison of recordings made with several different microphone setups, ranging from Ambisonics to wide spaced cardoids, and would like to discuss the results with the audience.

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Andriessens | Hoffmeister

Germany

L4 | Sound Art & Technologies #1
15:00 - 17:00
L4 | Sound Art & Technologies #1
Forum Finkenau
Ground Floor
15:00 - 17:00

Sharma

mirage 1, 5, 6

Composition of Sound Sculptures with the Ambisonics Instrument IKO
In computer music plastic sound objects have increasingly appeared in certain sound projection techniques over the last 60 years. The icosahedral loudspeaker (IKO IEM/Sonible), is the first compact 3rd order Ambisonics based sound emitter. Thus, the IKO is capable of three-dimensional beam forming and can be used as a portable musical instrument for composing sound sculptures. The artistic results of this approach considerably differ from those using multichannel loudspeaker setups. The contribution presents musical work that was composed for the IKO during the artist's doctorate period (Dr.art) to investigate the usage of sound sculptures and their perception and verbalization in electro-acoustic music composition.

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Gerriet K. Sharma

Austria

Mayer

kitchen studies – granular synthesis with effect processing per grain

"kitchen studies" is a fixed media piece in six parts which emerged from experiments with sequencing different effects per grain. It is also an artistic research project, that I'm going to extend in several steps: the SuperCollider class for effect sequencing and the single kitchen sound of five seconds, from which the whole piece is derived, are already part of my SC extension library miSCellaneous, recently I've added the commented source code of the piece. The resulting audio has only been cut and slightly mastered. The talk gives an overview and examples of the described synthesis technique.

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Daniel Mayer

Austria

Carey

Composing with cultural resonances

Using the new social interaction possibilities afforded by modern game engines, the author has created novel systems that explore real-time collaborative music composition via networked custom built VR experiences. The applications of these systems include artistic performance embracive of the principles of Gesamtkunstwerk, but additionally allow the administrator of the system to collect data on the users as per social media platforms, in order to tailor the content delivered to users based on their preferences. The users of these systems do not require expertise in music or technology, yet become programmatically and compositionally engaged with an immersive world, which is an expression of the groups preferences, and a type of cultural resonator.

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Benedict Carey

Hamburg

W1 | Listen Hard!
15:30 - 17:00
W1 | Listen Hard!
Room: 3030
Third Floor
15:30 - 17:00

Oswald Schwander

Listen Hard! Workshop on film sound design

Soundeffects replacing music: Oswald Schwander will break down his award-winning sounddesign of „imagine Waking Up Tomorrow And All Music Has Disappeared“.

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Oswald Schwander

Switzerland

VR Demos
15:30 - 17:30
VR Demos
Lichtlabor
Third Floor
15:30 - 17:30

Lin, Schaller & Graham, Deschamps, Gallagher

VR Demos

more to be announced...

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Benjamin Gallagher

USA

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Tobias Deschamps

Germany

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Yi-Cheng Lin

Taiwan

P2 | Performances
17:00 - 19:00
P2 | Performances
HFBK Studio
Ground Floor
17:00 - 19:00

Özer

Asure:10th year special concert

to be announced...

Beidenegl | Ortiz

THINK, when we talk of horses that you see them" Dance and Soundperformance and Installation

THINK is an installation choreography involving five parts which premiered last September at the Gallery projektItIraum in Hamburg.
For this symposium we would like to present the last part of THINK: „Look at it“. The focus of the search is on the transformation of dance into sound and drawing (and vice versa) resulting in an intermedial dialogue among different layers of documentation. Thus, the superposition and a sort of slight loss of hierarchy arise in between media.
The choreographed movement merges with recorded and live treated sound coming from the layered drawing out of graphite resulting in an audible choreography. The boundaries between sound and movement get blurred. Will dance turn into music or will music turn into dance?

Coulombe, Terner, Demirkoparan, Katsanis & Stancu

Sympathetic Resonance

Sympathetic Resonance is a concert-length transmedia suite that radically re-inscribes the piano as musical instrument, unique sound source, and historico-cultural phenomenon. The four movements “explode” the idea of the piano as classical instrument - with preparations and extended techniques, free improvisation and interactive visual programming- designed to re-contextualize the piano out from traditional concert settings and into the natural world. Audio installation, created from acoustic fragments and scrap audio from more than 20 years of the composer’s piano career, are processed and degraded, often to the point of complete abstraction, recapturing sound once trashed, suppressed, excluded.

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Renee Coulombe

USA

Tour: CSC-Studios
17:30 - 19:00
CSC Studio Tour
Tour: CSC-Studios
ALSTERDORFER STRASSE 2A
22299 HAMBURG
17:30 - 19:00

Atmos Mixing Stage
more to be announced…
csc-studio.de

Special Event
19:00 - 20:00
Special Event
Forum Finkenau
Ground Floor
19:00 - 20:00

S.Harding & M.Harding

Das Cabinet des Dr. Caligari / Live

Wikipedia

youtube trailer

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Matt Harding

United Kingdom

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Sue Harding

United Kingdom

klingt gut! Student Award
20:00 - 21:00
klingt gut! Student Award
Forum Finkenau
Ground Floor
20:00 - 21:00

Awards will be presented to contributors of the symposium in two categories:

  • Excellence in Art, Design, and the Production of Sound
  • Excellence in the Application of New Technologies in Sound Art and Sound Design
  • Extra category: Excellence in Sound Design for Film and Video
Late Night Concert
21:00 - 23:00
Late Night Concert
Forum Finkenau
Ground Floor
21:00 - open end

Bar & Barbecue

Hepting

A band giving their first ever concert at the notorious Reeperbahn Festival after initially getting together to practice just a few weeks earlier. That’s certainly not your ordinary band. That was Hepting in September 2016.
Frieder Hepting lent his talent and his name to the trio. He received the Hamburg music award “Krach + Getöse” in May 2016. The jury praised his “crystal clear voice and subtle irony, singing about confusion and consolation, light-footed and melancholic. We were moved and awed.”
Currently the trio is working on their debut EP, recording at the legendary Hamburg Clouds Hill Studio. It is scheduled for release in summer 2017.

DJ Malinka

For a pleasant lifetime here on earth DJ MALINKA strongly suggests a proper dose of dancing and music, as well as breathing, love and polish vodka. It's all in the mix. Therefore she is throwing records from all over the world on the turntable, and this she is doing pretty wildly. That's how DJ MALINKA is causing good and solid BALKAN SKA ELEKTRO SWING LATIN RnB DUB andsoonandsoforth * MASSACRES consistantly for years now, which make innocent dance muscles twitch and countless hearts bleed. And she isn't even sorry afterwards.

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DJ Malinka

Germany

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Hepting

Germany

Saturday
Saturday
Saturday
L5 | Sound Art & Technologies #2
10:00 - 12:00
L5 | Sound Art & Technologies #2
Forum Finkenau
Ground Floor
10:00 - 12:00

Solomiya Moroz and Marko Ivic

Simulacra Studies

In this paper I discuss my process in composition with gesture while demonstrating examples from Simulacra Studies and from my recent work. In Simulacra Studies, I explored the drama of a missing piano interface while embodying physically the act of playing without the instrument itself. The piece is concerned with gestuality as a result of the instrumental behaviour where personal qualities are juxtaposed with the embodied capabilities of the performer. There is a video component to the piece which initially establishes real-time correlation with the performer, only to become amplified, disjoined and broken into other narratives as the piece progresses. Thus the physical gestural behaviour becomes magnified with mediatized video experiences of the pianist as a person playing with images of himself on himself as one does with gender, sexuality, power, fragility, superficiality, banality, etc.

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Solomiya Moroz

United Kingdom

Son

Beyond Sound Spatial Boundaries: Unsuk Chin’s Opera “Alice in Wonderland” with Aesthetical View of Intercultural Identity

Opera "Alice in Wonderland(2007)" presents a typical Alice’s adventures with Chin’s studies of Western classical music from her natives in Korea and her practices from her teacher Ligeti. However, she doesn't actively receive the concept of Western nor reveal Korean musical idioms, rather she convolutes her peculiar idea with intercultural activities in her music, complexing the term of 21st operatic genre. This composition raises questions of why she mingles with non-Western musical idioms and overcomes the contemporary compositional customs/cultural boundaries between Western and non-Western musical terms, in context of Western traditional opera practices and ingredient of instrumental and vocal techniques.

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Mingyeong Son

USA

Stirnat and Ziemer

Spaciousness in Music: The Tonmeister’s Intention and the Listener’s Perception

Tonmeisters tune the sound of music productions. Besides aspects like spectral balance, loudness and dynamics, spaciousness plays an important role. Music of different genres tends towards different degrees of spaciousness due to generic aesthetic ideals and practical reasons. In this paper, we compare the degree of spaciousness as intended by the tonmeister and perceived by the listener. 150 music excerpts from 5 different genres are analyzed. The tonmeister's intention is derived from the literature and from analysis with a goniometer. The listener's perception is obtained from a listening test with 13 participants. The listening test revealed different adjectives for each genre relating to a spacious perception. The tonmeister’s intention is barely reflected in the available data except some general relationships.

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Claudia Stirnat

Germany

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Tim Ziemer

Germany

Piqueras

MATCHING ACOUSTICS IN IMMERSIVE AUDIO

MATCHING ACOUSTICS IN IMMERSIVE AUDIO: The role of acoustics in immersive audio environments, common and frequent mistakes, how to avoid them and existing tools to predict them.

W2 | The Art of Foley
10:00 - 12:00
W2 | The Art of Foley
Tonlabor
Third Floor
10:00 - 12:00

Sue Harding

The Art of Foley

Award-winning Foley Artist Sue Harding will give a "Hands On" Workshop in the Foley Stage. As places in the studio are limited, we request pre-registration at the registration desk.

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Sue Harding

United Kingdom

P3 | Performances
12:30 - 15:00
P3 | Performances
Produktions Labor
Ground Floor
12:30 - 15:00

v. Frantzius

violin sidetracks

"violin sidetracks" is part of my "sidetracks" series started in 2013 with "marimba sidetracks" (marimba and live-electronics). All "sidetracks" pieces are composed for a solo instrument and live-electronics (computer) and explore manifold interactions between these two worlds. Sounds of the solo instrument are sampled during the performance and live-combined into new "tracks". "violin sidetracks" introduces five LED-flood lights as a third character. Thereby it evolves like an absurd theater play with three different personalities (live performer / live-electronics / lights). The movements of the violin-performer are tracked with the Microsoft Kinect camera and used to control various parameters in the authors own sound and interactive DMX software (integrated in Ableton Live). The piece is performed without any prerecorded sound material.

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Martin von Frantzius

Germany

Li & Fan

Wind and The Dancing Bamboos

For live piano, soundscape and computer generated sound.
The creative concept was inspired by a Qing dynasty poet Zheng Xie’s poem work-“Bamboo”: Translation in Englisht: A day after day, thousands of branches to save leaves; since I do not blossom, free up bee and butterfly.
The composer Wuan-chin Li (Sandra Tavali) visited 2016 klingt gut! Symposium, when she was impressed by the beautiful sound and field recoding works she learned in this conference. After coming back to Taiwan, she invited a local soundscape artist Laila Fan to complete this work - "Wind And the Dancing Bamboos". They hope this collaboration will bring the contemporary computer music composition and soundscape work together successfully.

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Laila Chin-Hui Fan

Taiwan

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Sandra Wuan-Chin Li

Taiwan

Vandemast-Bell & Brown

Immersive Deconstruction: An exploration of dynamic loop-based performance diffused in a multi-channel environment

This performance by the audio-visual duo, The Janus Incident, explores (through live interaction) the dynamic dialogue between rhythmic, audio-visual materials in space. Original source material is presented then deconstructed and improvisationally reimagined in real-time, to create synchronous / asynchronous rhythms and textures. The work is evolved through the use of audio-visual effects and dynamic processors.
Audio looping is invoked through Native Kontrol’s MIDI Remote Scripts and a custom Ableton Push controller mapping that extends Ableton Live’s looping potential. Video looping is achieved through the software VDMX with Quartz-Composer and FreeFrame real-time graphics manipulation controlled through a custom Akai APC40. Spatialisation is explored through real-time sonic/video dispersion over multiple channels.

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Bell | Brown

United Kingdom

Kim

Unfolding Time (2017)

The idea of Technique was based on a concept of a trans- forming that switch one state of matter to another statement. All forms of energy can be broken down either into kinetic or potential.(e.g the difference between water particles and ice particles). I was implemented these idea for the aspect of a technic. Interactive system represent physical statement, sound and visual present another form that corresponding each other and playing together.

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Myungduk Kim

Germany

L6 | Immersive Audio #2
12:30 - 14:30
L6 | Immersive Audio #2
HFBK Studio
Ground Floor
12:30 - 14:30

Rehberg

Virtual Soundscape

Understanding 3D-Audio as an autonomous means of expression leads into the field of acoustic ecology. The significant terminology provides a system of parameters for composing and com-positioning within 3D-Audio environments and therefore clarifies the narrative power of soundscape as a concept, which is applicable for virtual realities, that involve the listener. The lecture identifies the parameters and outlines an approach to 3D-Audiodesign, including aspects of the practical implementation within object-based production systems.

Deboy & Monte

Workflow in audio production for VR

With the rise of Virtual Reality (VR), sound plays an important role for a truly immersive experience. Spatial audio for headphones enables the audio engineer to support story-telling in new ways. However, the tools specifically designed with VR in mind are at an early stage and a standardized workflow for spatial audio without being locked to a proprietary solution is far from reality. We share our vision for a workflow based on higher-order ambisonics from a production standpoint.

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Ana Monte

Germany

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Daniel Deboy

Germany

Schneider

Some Thoughts on Real World Ambisonics Microphones

The paper will discuss aspects of existing Ambisonics microphones. Measurements of real microphones will be included, and thoughts on best implementations for sound engineering purposed will be discussed.

Performative Lecture
15:00 - 16:30
Performative Lecture
Forum Finkenau
Ground Floor
15:00 - 16:30

Truax

The Garden of Sonic Delights

The Garden of Sonic Delights (2015-16) invites the listener to enter an imaginary soundscape (one that Murray Schafer might describe as a “soniferous garden”) richly filled with sounds that may remind us of the actual sounds of water, wind, insects, animals and birds. Our visit will take us through the afternoon until the next morning, hopefully leaving us delighted and refreshed.
The piece was commissioned by Birmingham ElectroAcoustic Sound Theatre (BEAST) for BEAST FEaST 2016, and realized in 48 channels at the Technical University, Berlin, and the composer’s private studio assisted by Outboard’s TiMax2 Soundhub for spatialization.

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Barry Truax

Canada

Every day
Every day
Every day
EXHIBITION
10:00 - 19:00
EXHIBITION
10:00 - 19:00
Every day from 10 am

Artist:

Brandes / D'Amato / Deboy & Monte / Dévény / Endreß / Fausti / Ferrazza / Forreiter / Frick / Ge / M.Harding / Henze & Mehlis / Ka’Mi / Kempf / Lange / Mayer / Mizithras / Mohammadi / Pastorino / Rebholz / Rehberg / Rehm / Rex / Rex & Brandes / Riemer, Kühne Escolà, Schleiner, Brüning, Lohf & Witte / Savva / Scholz / Sheth / Shih / Shimano-Bardai / Steinbichl, Elsner & Melús Vélez / Sünderhauf / Terzaroli / Varoutsos / Vejnovic / H.T.Wang / D.Wang / Yang / Zhou

Bahia / Förterer / Harju / Herrmann / Körperich / Kuß / Linder Loden / Mai-Rienecker-Hentig-Kessling / Schwarz / Targosz & Szczesny / Rauch-Marz-Bednasch-Veenstra

For more informations click on Exhibition at the top.

Show Rooms
10:00 - 19:00
Show Rooms
10:00 - 19:00
Everyday from start till end.

Tech Showrooms:

Virtual Realities (LL)
Immersive Audio Lab (TL)
Modular Synthesizers (ZBM)
Foley Stage (TL)
Studio Berlin OB Van / Ü-Wagen (backyard)

Visiting times will be announced at the registration desk

CONTRIBUTORS AT THE klingt gut! SYMPOSIUM 2017

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Aleksandar Vejnovic

Germany

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Alexander Vilkaitis

United Kingdom

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Amirabbas Mohammadi

Iran

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Ana Monte

Germany

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Andriessens | Hoffmeister

Germany

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Anna Terzaroli

Italy

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Antonio D’Amato

Italy

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Aya Shimano-Bardai

France

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Barbara Dévény

Germany

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Barry Truax

Canada

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Beata Anna Targosz

Poland

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Bell | Brown

United Kingdom

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Benedict Carey

Hamburg

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Benjamin Gallagher

USA

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blackhole-factory

Germany

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Bruce Wiggins

United Kingdom

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Cajsa-Lisa Linder Loden

Germany

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Cheng-Yen Yang

Taiwan

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Christof Ressi

Austria

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Christopher Kuß

Germany

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Claudia Stirnat

Germany

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Clemens Endreß

Germany

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Daniel Deboy

Germany

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Daniel Mayer

Austria

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David Claringbold

Australia

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Davide Wang

Italy

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Dimitrios Savva

United Kingdom

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DJ Malinka

Germany

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Dong Zhou

Germany

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Duncan Werner

United Kingdom

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Elke Utermöhlen

Germany

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Fernanda Ortiz

Germany

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Georgios Mizithras

Greece

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Georgios Varoutsos

Canada

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Gerriet K. Sharma

Austria

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Hannes Raffaseder

Austria

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Henze | Mehlis

Germany

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Hepting

Germany

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Holger Förterer

Germany

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Johann-Markus Batke

Germany

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Jörg Lensing

Germany

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Jule Körperich

Germany

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Ka’Mi

Austria

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Kent Hayward

USA

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Laila Chin-Hui Fan

Taiwan

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Leslie Gaston

USA

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Lorenz Schwarz

Germany

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Lukas Brandes

Germany

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Lukas Rehm

Germany

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Mai | Rienecker | Hentig | Kessling

Germany

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Marco Ferrazza

Italy

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Marco Kempf

Germany

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Marek Forreiter

Germany

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Mariam Frick

Germany

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Mariana Bahia

Germany

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Markus Rebholz

Germany

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Martin Slawig

Germany

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Martin von Frantzius

Germany

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Matias Harju

Finnland

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Matt Harding

United Kingdom

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Max Lange

Germany

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Max Rex

Germany

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Mehmet Can Özer

Turkey

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Meifen Shih

Taiwan

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Mersid Ramicevic

Serbia

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Michael Iber

Austria

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Michael Willliams

France

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Miłosz Szczęsny

Poland

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Mingyeong Son

USA

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Mitchell Herrmann

United Kingdom

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Mona Ge

China

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Myungduk Kim

Germany

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Nora-Louise Müller

Germany

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Ole Sünderhauf

Germany

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Oswald Schwander

Switzerland

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Paolo Pastorino

Italy

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Philip Mantione

USA

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Rauch | Marz | Bednasch | Veenstra

Germany

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Renee Coulombe

USA

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Rex | Brandes

Germany

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Roberto Fausti

Germany

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Roberto Fausti

Germany

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Sabine Breitsameter

Germany

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Sandra Wuan-Chin Li

Taiwan

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Schaller | Graham

Canada

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Sebastian Scholz

Austria

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Shane Byrne

Ireland

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Solomiya Moroz

United Kingdom

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Steinbichl | Elsner | Vélez

Germany

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Sue Harding

United Kingdom

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Thomas Görne

Germany

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Tim Ziemer

Germany

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Tobias Deschamps

Germany

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Vincent de Koning

Netherlands

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Wang Hsiao Ti

Taiwan

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Yi-Cheng Lin

Taiwan

Topics 2017

Important Dates

  • december 13 - February 10 | open call
  • March 01 | early bird tickets
  • march 01 | preliminary programm
  • april 01 | regular tickets
  • june 08 - june 10 | klingt gut! 2017
  • june 09 | student award

Program Committee | Co-Chairs

Eldad Tsabary

Concordia University

Montreal

Mehmet Can Özer

Yaşar University

Izmir

Cornelia Lund

Art, Film and Media Theorist

Berlin

Felix Kubin

Musician and Media Artist

Hamburg

Andrew Hill

University of Greenwich

London

Georg Hajdu

Hochschule für Musik und Theater

Hamburg

klingt gut! Student Award

The AES Hamburg Student Section and the klingt gut! Symposium are once again presenting the klingt gut! Student Award. Contributors who are enrolled in a Bachelor, Master or PhD program, or have graduated not earlier than June 2016, may participate with their Artwork.

 

Awards will be presented in three categories:

 

• Excellence in Art, Design, and the Production of Sound

• Excellence in the Application of New Technologies* in Sound Art and Sound Design

*e.g. Audio VR, 360° Sound, Ambisonics, …

• extra category: Excellence in Sound Design for Film and Video

 

Retrospect 2016

Watch the last years compilation