The Hamburg University of Applied Sciences and the Audio Engineering Society Hamburg Student Section are pleased to announce the fourth installment of
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.
Hochschule für Angewandte Wissenschaften Hamburg
+49 40 / 42812-5706
7th - 9th June 2018, Hamburg
Here are the contributors of klingt gut! International Symposium on Sound 2018
Garth Paine & Sabine Feisst
Fredrik Mathias Josefson
Jam Session Machine
In 2016, VR developer GARTH PAINE and musicologist SABINE FEISST, directors of the Acoustic Ecology Lab of Arizona State University (ASU), recorded Tenet’s historically informed performances of Monteverdi’s Vespers in a New York Church with a Nokia Ozo VRvideo camera and ambisonic microphones. The 360-degree film andambisonic audio footage of this is fully rendered for Vive, OculusRift, Samsung Gear VR with Web VR forthcoming. The presentation at klingtgut! 2018 details the making of the concert, use of Spatial 3D Ambisonic Audio, Blue Ripple Sound ambisonic tools for Unity 3D game engine and challenges of sonic imaging in a reverberant venue and applications for this VR concert. We also illuminate how VR users’ experience of remote presence is applied in the health sector and discuss our gaze-tracking project in collaboration with neuroscientist Claude Ghez.
NICOLA BARONI, Cello teacher in Bologna Conservatory, Italy, was a student of Siegfried Palm and fulfilled a PhD in Composition at the University of Edinburgh, researching on interactive composition and hyperinstruments. For a quarter of a century, hyperinstruments have been developed to enhance the interactive potentials of performers, mapping their gestures to electroacoustic outputs. Radical approaches to similar technologies explored boundaries of real-time composition as a multi-agent cooperation between musicians, automatic generators and music digital processes. Nicola Baroni's performative lecture at klingt! gut 2018, "A gestural interactive approach to real-time composition", will show original systems of interactive composition for soloists and ensembles, who integrally drive music systems through minimal inertial motion tracking setups combined with complex audio analysis feature extraction.
MICHELE ABOLAFFIO is a live electronics performer, sound engineer and interface developer. He holds a BA degree in Music and New Technologies from the Conservatory of Firenze and a Master of Music degree in “Instruments & Interfaces” at the Institute of Sonology in The Hague and STEIM Institute in Amsterdam. At klingt gut! 2018 he will present "Synaesthesia", a live electronics solo performance involving biophysical sensors and active lighting. The work aims to explore the musical and corporeal performance practice built upon the active stimulation of the senses of sight, hearing and the perception of the muscles. The performance is based on a synesthetic system composed of wearable sensors that respond both to bio-signals and dynamically controlled lighting.
AURÉLIE FERRIÈRE is a musician, producer and graphic artist, graduated from Bordeaux and Paris Conservatoires in respectively violin and FSMS (tonmeister). Currently a composer in residence at Elektronmusikstudion in Stockholm, Aurélie collaborates regularly with the National Swedish Radio. At klingt gut! 2018 she will present "A Musician on board The Ocean Mapping Expedition", a project that takes the artist and the listener to unexpected places both geographically and psychoacousticly.
DAVID LEDOUX is a postgraduate student at the University of Montreal. Ledoux's work has primarily been focused on developing compositional strategies anchored in the electroacoustic medium’s immersive capabilities through sound spatialization: Cinema for the ear – a subgenre at the crossroads of acousmatic music, soundscape and radio art. At klingt gut 2018, he will present his acousmatic 3D audio journey "Cathedrals: I – City of a Hundred Bell Towers".
FREDRIK MATHIAS JOSEFSON will present his algorithmic spatialized multichannel work "The History Of Levitation", rendered for our 33.2-channel loudspeaker dome. Mathias is engaged in artistic research at the Hochschule für Musik und Theater Hamburg. He holds a Master of Fine Arts from the Royal Institute of Art, a Master of Science from the Royal Institute of Technology, and a Bachelor Degree in Compositionfrom the Royal College of Music in Stockholm. He is a member of Fylkingen and active at Elektronmusikstudion (EMS).
You are loud, and you want a ton of fun? With the "Jam Session Machine" you can make music together and communicate. Not everyone is a musician but there's music in all of us. "Jam Session Machine" is an installation of students of the Communication, Media,Sound and Interaction Design Master of the FH Joanneum Graz, Austria: VALERIE QUADE (Szenography), JOSHUA LILIENTHAL (OrganSynthesizer), MARTIN KNAPP (Bass), JOHANNES KIPPELT (StringsSynthesizer), DAVID STOCK (Drum Sequencer) and MARTIN HAIDEN (Granular Synthesis).
DOUG McCAUSLAND is a composer currently based out of Edinburgh, UK while pursuing an MSc in Digital Composition and Performance at the University of Edinburgh. Beginning in the fall of 2018, he will be a doctoral fellow at Stanford University working towards a DMA in Composition. "Cassette Studies I & II" are a piece playing with the idea of a 'tape' piece quite literally, while simultaneously subverting the semiotic understanding of what a 'tape piece' means in electroacoustic music. As such, the tapes used are technically a fixed-media product,but in performance, they are manipulated in real-time both throughdirect manipulation of the tape deck and through interactive processing utilizing Max/MSP. Doug will perform "Cassette Studies I & II" live atklingt gut! 2018.
ESHEN CHEN is a Taiwanese artist based in Tainan, working on sound, music and ceramic. She’s fond of discovering soundscape in different cultural backgrounds, which reveals stories behind nature, memories and people’s daily life. At klingt gut! 2018 she will present her installation S(URR)OUNDING – with three words included in the title: SOUND,YOUR, SURROUNDING, focused on the discovery of soundscape around us.
LOUISE ROSSITER is an acousmatic composer based in Leicester, UK. Her research interests lie in acousmatic music composition and performance, silence, and expectation. At klingt gut! 2018 she will give a lecture on Expectation in Electroacoustic Music.
ANGELA McARTHUR is a lecturer and PhD student working with 3D audio for cinematic VR and audiovisual installations at Queen Mary University London. At klingt gut 2018 she will present "Sundowning", a VR film that combines the technology of 360 degree filming with the stagecraft of theatre to create an immersive, unique and, at times, unsettling virtual reality experience.
The composer, sound engineer and music producer DANIELCOURVILLE began his career in 1990 as a lecturer in audio productionand computer technology at the Université du Québec à Montréal(UQAM). In 2006, he launched the Ambisonicstudio.com website with tutorials and free DAW plug-ins to promote Ambisonics. Daniel composes electronic music that was performed in various concerts,festivals and gatherings in Canada and Europe. At klingt gut 2018 he will present "The Well-Tempered Chaos", a self-generative, stochastic musical installation.
Cobi Van Tonder
MARIANA LOPEZ has a background in music, sound design and acoustics. Her MA dissertation (University of York) focused on the creation of a format of sonic art entitled 'audio film' that may be considered as an alternative to Audio Description for visually impaired audiences. In 2013 she completed her PhD at the University of York on the importance of virtual acoustics to understand medieval drama. In 2016 she started a position as Lecturer in Sound Production and Post Production at the Department of Theatre, Film and Television (York), where she leads the Masters in Postproduction with Sound Design. Mariana is the Chair of the AES British Section. At klingt gut! 2018 she will present and discuss "Shelf Life", a short science-fiction film created as part of the Enhancing Audio Description project (funded by the Arts and Humanities Research Council, UK), which seeks to provide accessible audio-visual experiences to visually impaired audiences using sound design techniques and binaural audio. 'Shelf Life' was produced by a group of students from the Department of Theatre, Film and Television at the University of York with the guidance of Dr Mariana Lopez and Dr Gavin Kearney.
MARCUS MATHIOUDAKIS is a composer and software engineer based in London. After studying computer science at Imperial College London (MEng, 2009 - 2013) he worked in software for 3 years, before completing a Masters in Digital Composition and Performance at the University of Edinburgh's Reid School of Music (2016 - 2017). Currently he divides his time between building scalable web applications and composing a debut full length release exploring different approaches to synthesis and algorithmic composition. At klingt gut 2018 he will
present "OSMIUM", an extended musical form exploring tension, predictability, and surprise in the context of experimental electronic music.
ANTONIO D'AMATO graduated from the Conservatorio Statale diMusica di Salerno in Piano, Harpsichord, Music for Multimedia, MusicPedagogy, Electronic Music and Sound Engineering. He also studiedComposition for eight years, Bassoon for three years, Baroque Organ,Audio Engineering, Ondes Martenot in Strasbourg and Paris, and laterSonology at ESMUC in Barcelona. His piece for klingt gut 2018"Organica" comes from the purpose of generating an illusion of newinstrument through analisys, de-structuration and recombination of realsamples of an acoustic instrument, using mostly progressivesubtraction or selective saturation processes. All the basic materials ofthe piece are audio samples recorded form a baroque organ, nothingelse, chosen for the beauty of the sound, and the complex structure ofthe tone textures. The title is an hommage to Francisco Correa deArauxo (1584–1654) author of the “Facultad Organica”.
TIMOTHY TAN often grapples with themes of complex puzzles, life and death, plus past and present. He is not afraid of dark, aggressive and ironic stories. His music often has unsettling developments, evoking uncomfortable scenarios, such as abuse of power, megalomania, reliving of forgotten histories, and uncovering the weaknesses of human senses. Right now as part of his puzzle-making, he researches on spatialisation with chaos at the Institute of Sonology, The Royal Conservatoire The Hague, in the Netherlands. At klingt gut 2018 he will perform his work "Worms (ft. Popcorn fractals)": Despite carrying great potential for musical expressivity, spatializing with chaotic maps remains underexplored. Popcorn fractals, as chaotic maps, are incredibly sensitive. Their trajectories often resemble those of worms crawling around to a pre-determined spot, or a person walking with a specific awkward pattern. In Worms, three popcorn fractals are used, differing with a tiny offset to a parameter. All three can come from one of at least seven variants of popcorn fractals; their equations can mutate to a particular variant together, allowing their varied trajectories to be unleashed. This work is performed live with SuperCollider, Max 7 and Mira on iPad.
COBI VAN TONDER is a South African born composer, media artist andlecturer based in Berlin, Germany. She completed a PhD in MusicComposition at the Digital Arts & Humanities Program of Trinity College,Dublin, an MFA Art Practice degree at Stanford, USA; and a BHons inMusic in History and Society (Musicology) at the University of theWitwatersrand, Johannesburg, South Africa. The most recent worksrevolve around structural patterning - iterative and fractal approaches tocomposition, alternative tuning systems and micro-tonal music, threedimensionality in sound (or spatial audio) and the technologicallandscape that enables it. Together with the visual music artist MAURAMcDONNELL she will present "Digital Alchemy", a work exploring theidea of the transformation of digital visual material through blendingcolour, merging different motions and speeds and applying symmetricaloperations on raw and transformed material. The visuals are crafted andsynchronized and consist of a visual response to the micro-tonalcomposition "Gala" (2015/16) by Cobi van Tonder.
EMMA MARGETSON is a composer of acousmatic music based inBirmingham and is currently studying for a PhD in ElectroacousticComposition at the University of Birmingham. Her works have beenperformed across the UK and internationally. The sounds used withinthe composition "Water Waves" were captured on a series of recordingtrips in North Wales, in particular off the coast of Anglesey and YFelinheli near to Bangor, Gwynedd. The piece explores the differentsonic qualities of water, transforming them to the abstract andunrecognisable, travelling to areas of the unknown.
MATIAS HARJU is a sound designer and music educator living inHelsinki, Finland. In his works he advocates immersion, illusion, quality,communication and crazy ideas. Currently he's focusing on sounddesign and sonic aesthetics of VR and AR at Aalto University Sound inNew Media MA programme. His work for klingt gut 2018 FOLD is anattempt at expressing the inexpressible. By harnessing the power ofvirtual reality, it makes a stab at creating a visible, audible and tangibleexperience out of something that cannot be seen, heard or touched:space in more than three dimensions. FOLD is an experimental VRexploration game. The player moves inside projections of 3D fractalsand is guided by voice "memories" and spatialised audio-cues leadingto parallel landscapes. Sounds and music alternate according to theplayer's actions and movements. A non-linear, fragmented narrativeexplores the problem of otherness: how can we ever know what it is tobe someone or something other than ourselves?
A Canada Council for the Arts (CCA) recipient in 2018, CONNORHARVEY-DERBYSHIRE is an accomplished independent musician andContemporary Experimental Electronic Music (CEEM) artist. At klingtgut 2018 he will perform "The City of Ohm - Klingt gut! HamburgTelematic Dialogue". Connor utilizes obsolete music technologies,expression-based improvised performance, experimental compositionand scoring, and universal synthesis as a part of his alter ego CosmoDuff. Cosmo is a telematics (wo)man-machine. The sonic interface iscrafted from an NBCD (Nuclear Biological Chemical Defence) suitengineered for protection and data collection. The suit comprises ananalogue sensor harness with collection, processing, andrebroadcasting functionality. Others can tether to Cosmo or Cosmocollects sonic samples from the atmosphere. At klingt gut 2018, sonicdata collection will occur from, in, and between venues, presentations,performances, people, and routes, encouraging others - Conferencegoers, musicians, technomancers, to do the same. The projectculminates in a telematic compositions achieved through combiningand embellishing, the Hamburg Movements, a unique telematicdialogue that captures the presence and truths of the Symposium.
CLEMENS VON REUSNER is a composer and sound artist based in Germany, whose work is focused on acousmatic music. Since the endof the 1970s he has been engaged with electroacoustic music, radioplays and soundscape compositions. At klingt gut 2018 he will present“Definierte Lastbedingung” (“Defined load condition”), a 3rd orderambisonics composition based upon the sounds of electromagneticfields - bulky, harsh and repellent sounds, even hermetic as the wellknown electrical hum, explored in their structure, reshaped and musically dramatized by the means of the electronic studio.
MASSIMILIANO VIEL is a composer, musician and researcher at the Conservatory “G.Verdi” of Milan, Italy. His manifold activities as composer, keyboard player and sound designer brought him tocollaborate with many ensembles and orchestras all over the word and composers such as L.Berio, F.Romitelli, and K.Stockhausen. At klingtgut 2018 he will present "Crossing", a 36-channel study around"crowded" polyphony, in the Immersive Audio Lab at the Arts and Media Campus Hamburg.
KYRIAKOS CHARALAMPIDES, GIULIANO ANZANI, CHRIS LOUPIS andMICHELE ABOLAFFIO, based at the Institute of Sonology at the RoyalConservtoire and at STEIM (Studio for Electro Instrumental Music) inThe Hague, Netherlands, will perform live on stage at klingt gut 2018."Miloš Cathals" is an improvisational quartet dedicated to the conceptsof feedback, synergy and self- organisation.
CHRISTOPHER COLEMAN, born in Atlanta, composer, conductor, trombonist, is currently Composition Coordinator of the Hong Kong Baptist University Department of Music, where he has taught for the past 29 years. A trans-media artist, Christopher Coleman also works in painting, sculpture and computer graphics. He is a founding member of People’s Liberation Improv, Hong Kong’s leading comedy improv group, and has performed with them in Beijing, Seoul, Singapore, Manila, and Macau as well as Hong Kong.At klingt gut 2018 he will present "...the liquid mountains of the sky...", dedicated to the memory of his brother. The title is taken from a quote of Helen Keller, "It's wonderful to climb the liquid mountains of the sky. Behind me and before me is God and I have no fears." The 8-channel piece uses selections from a recording of the harp solo The Autumnal Mountain recorded by Kateřina Englichová. The selections are replicated into the thousands and each replication is time-shifted by various amounts. At the beginning, the replications are a background accompaniment to the original solo line, and later, two-, three- and six- replications weave in and out of a much thicker background.
Clemens von Reusner
Kyriakos Charalampides, Giuliano Anzani, Chris Loupis and
Rocío Cano Valiño
Jan Dietrich & Manfred Scharfenstein
Shane Byrne & Ror Conaty
The Krachkisten Orchestra
Nils Meyer-Kahlen & Thomas Deppisch
Sonic Interventions in the Healthcare Sector
ROCÍO CANO VALIÑO is an Argentinean Composer and Interior Designer. Currently, she is studying electro acoustic composition at the CRR de Lyon in France with Stéphane Borrel. Rocío won the Audience Award at the Luigi Russolo Award 2014 (France-Spain). In 2015, she received a commission from the Festival Bahía[in]Sonora for the creation of a quadraphonic electro acoustic work. In 2017, she received the 3rd Prize of the TRINARG-CAMU (Argentina).Her works have been selected and performed around the world indifferent festivals. At klingt gut 2018 she is presenting "Tâches", an electro acoustic work that represents the routine of a person who performs different types of manual tasks. Most of the recorded material comes from electric tools such as drills, saws and sanders. At the beginning of Tâches, granulated and saturated materials with complex and contrapuntal gestures are perceived. Sounds like water and tea kettle are used to portray the moments of lower tension when the person rests. These materials are continuous with homogenous sonority. Towards the end, samples become more and more saturated and finally the texture is even more complex than in the beginning.
VLADIMIR VLAEV is a performer, composer and audio artist based in Den Haag, Netherlands. He is currently focused on the development of several different real-time DSP systems for live electronics using acoustic sound as initial source. The interest in a variety of musical languages, forms and abilities for expression provokes him to use different types of media to present his musical ideas. This is evident in his works with sound which vary from instrumental compositions,through electroacoustic music for fixed media to live electronics performance and development of new instruments. At klingt gut 2018, he will present "Pervade the Space", a multichannel instrumental & live electronics performance. It puts in a new context the relationship between the input of a physical gesture of a musician and the derived artistic sound output. The performance is aimed to explore the artistic sonic potential of a newly built hybrid acoustic-digital instrument — the HexApp. Its main feature is the digital processing engine developed to transform acoustic sound in a real time. The behavior of the distinct modules of the engine is subject of solid compositional rules deduced from the composer's experience. The performance combines the instrumental virtuosity of an improvising performer with an experimental, compositional and scientific approach towards real-time DSP empowered by the abilities for its spatial distribution.
JAN DIETRICH and MANFRED SCHARFENSTEIN will guide the audience through the city of Hamburg on the tracks of the StreamCaching music project. The Stream Caching project was launched at the blurred edges festival for contemporary music: 10compositions of about 2 minutes each were commissioned, digitized,provided with GPS data and located across the city. The musicans were asked to contribute works particulary for specified areas in the city. The audience is able to search for the tracks with smartphones and listen to and experience them directly on site.
JAN DIETRICH is a Designer, Artist, and Expert for the Invisible. After his training and work as an organ and harmonium builder in Hamburg,Jan Dietrich studied product design at the University of the Arts, Berlin. He completed his studies with works on Product, Space & Sound. As partner of MAUPI experience he is managing sound and interface projects for customers from the automotive and consumer goods industries. As an artist, Jan is working on projects with focus on digitalprivacy and social communication.
MANFRED SCHARFENSTEIN is a dramatic advisor, composer and visual artist. He studied pre- and early history at the University of Hamburg, lives and works as a freelance dramaturg, composer and artist in Hamburg. As dramaturg he is in charge of the productions of Norden-Theaterproduktion, Hamburg.
SHANE BYRNE and ROR CONATY will perform "Conatus", an electro acoustic composition built around a dialogue between percussion and live electronics. A gesturally informed compositional interface is used to capture chunks of live audio and process them in real-time, thus creating a texturally rich granular landscape which is then used as both a counterpoint and as an accompaniment to the source material. Shane Byrne is a composer of electro acoustic music and is currently pursuing a PhD in Maynooth University, Ireland. His work focuses heavily on interactivity and participation within the context of electro acoustic music composition. He is particularly interested in correlating physical gesture with musical gesture through dance and other forms of corporeal expression. His recent work has led him to investigate the potential for human-computer interaction and physical computing to facilitate musical creation in the context of assistive technology. Ror Conaty began drumming at the age of 14, falling in love with the instrument he quickly excelled and was touring internationally by the age of 16. Through extensive international street drumming and electrifying live performances, Ror gained notoriety as a rhythmic powerhouse which brought him a wide array of musical work, playing with a diverse range of musicians from underground punk rock to best selling artists such as Damien Rice. Ror currently drums with No Spill blood, signed to Sargent House records he is touring internationally.
The KRACHKISTEN ORCHESTRA, founded and directed by Hamburgbased artist TINTIN PATRONE, produces improvised electric soundswith selfmade analog instruments. In addition to gigs in Hamburg, the orchestra has toured Germany, Russia, the UK, Scandinavia, France and Eastern Europe, including performances at the Fusion, Sines &Squares, and Audioblast Festivals, and the Moscow International Biennale.
Inspired by the intonarumori (noise-intoners) the Italian Futurist Luigi Russolo (b. 1883) invented, the Krachkisten or noise boxes used in the orchestra’s concerts are 29 homemade analogue instruments enhanced with electronic components taken from dismantled children’s toys or selfmade sound circuits. The sound of the produced music switches between noise, drone, electronic music and musical Concept-Art and is always a result of structured improvisation.
NILS MEYER-KAHLEN and THOMAS DEPPISCH will demonstrate the opportunities that emerge from using first-order beam-controllingl oudspeakers for surround playback. The loudspeaker's beams can be modified in both shape and direction, which allows for placing auditory events at positions additional to the loudspeaker positions by exciting specific wall reflections. The first setup we will present consists of four cubical loudspeakers arranged in a rectangle. By fading between sound directly played towards the listeners and sound played to the roomcorners, distance control can be established, using new, dedicated VST-plugins. In a second setup, two variable-directivity loudspeakers are used to play back standard 5.1 surround material.
Nils Meyer-Kahlen and Thomas Deppisch are Master students in Electrical Engineering - Audio Engineering at the University of Technology and the University of Music and Performing Arts in Graz,specializing in signal processing, 3D Audio technologies and music information retrieval.
DANIEL RUDRICH is Electrical Engineer and PhD candidate at the Instutute of Electronic Music and Acoustics (IEM) Graz. His research focuses on the parametrization of sound sources within 3D audiorecordings in Ambisonics. At klingt gut! 2018 he will introduce the IEM Plug-in Suite, a free and open-source software, featuring Higher Order Ambisonic plug-ins up to 7th order, including encoders, decoders,surround visualizer, dynamic processors, and delay and reverb effects,as well as a tool to design Ambisonic decoders for arbitrary loudspeaker layouts. The workshop at HAW Hamburg's Immersive Audio Lab presents the plug-ins and practically demonstrates the basic applications and workflow in Reaper.
"Sonic Interventions in the Healthcare Sector" adresses the "HealingSoundscapes" project conducted by the departments of multimedia composition and music therapy at the Hamburg University of Music and Drama as well as the institute for systematic musicology at the University of Hamburg with the aim of studying the impact of sonic interventions in hospital waiting areas. To this end, a set of compositions were created for a sonic environment consisting of asensor interface, a generative music system, a sound module and a multi-channel audio diffusion system. The focus of these studies is oncognitive and physiological parameters, including stress reduction,perception of waiting time duration, and attention to sounds and noise.About the authors: GEORG HAJDU is a composer and professor ofmultimedia composition at Hamburg University of Music and Drama(HfMT). PIA PREISSLER is a music therapist and coordinator of theHealing Soundscape project funded by the Claussen-Simon Stiftung. JAN SONNTAG is a music therapist and professor at the Medical School Hamburg. ECKARD WEYMANN is professor of music therapy at Hamburg University of Music and Drama. CLEMENS WÖLLNER is amusic psychologist and professor of systematic musicology at Hamburg University.
JEDRZEJ BOROWSKI, KRZYSZTOF BULAWSKI, KRZYSZTOFGOLIASZ and JAN SOKOLNICKI will present their study on using deep neural networks to minimize audio content switching artifacts. The paper explores possible methods for minimizing audio artifacts occuring during changes introduced during adaptive streaming. Instead of creating a drop out or fade out at the switch moment, the generative model is used to predict a frame of audio, which is then crossfaded into the following audio segment.
The team members graduated from Wroclaw University of Technology and hold master's degrees in Acoustics and Sound Engineering. All were active members of the Audio Engineering Society Student Section in Wroclaw, participating in various research efforts, conferences and competitions. They work in QA and Systems Engineering in Dolby Poland. Their daily work revolves around development and testing of next-generation audio projects in home theater and professional markets, and they share a common passion for music, sound engineering and research.
MAURA McDONNELL is a visual music artist based in Maynooth,Ireland, and an Assistant Professor in the Department of Electronic Engineering, Trinity College, Dublin. The meaningfulness that she seeks in her work is to explore the emotional, musical and evocativeness potential of music in a shared similarly crafted visual world. At klingt gut2018 she will give a talk on the expansion of a cinema concrete method towards the exploration of new techniques for manipulating imagery in the development of a visual music cinema.
MISS RODGERS is a sound designer based in Edinburgh. She graduated from The University of Edinburgh with a Masters degree in Sound Design. She is particularly interested in audio for non-linear media, and is enthusiastic about adaptive audio-visual work, interactive systems, and virtual reality. At klingt gut! 2018 she will present "Tentram" - a Tranquil Adaptive Environment for Virtual Reality.
IAN CORBETT is the Coordinator and Professor of Audio Engineering at Kansas City Kansas Community College. He also owns and operates"off-beat-open-hats - recording and sound reinforcement", operating in the Kansas City area. Ian’s book “Mic It! – microphones, microphone techniques, and their impact on the mix” was published by Focal Press in 2014, and he also authors articles for Sound On Sound magazine. At klingt gut! 2018 he will perform original live electronic works for saxophone and six to ten channel fixed media.
Jedrzej Borowski, Krzysztof Bulawski, Krzysztof
Goliasz and Jan Sokolnicki
Sabine Bürger & Rosalía Soria Luz
Demian Rudel Rey
Jens Schmidt & Chiara Kramer
klingt gut 2018, June 7-9: Meet the Artists! "Synthetic Springs" is a collaborative audio-visual piece by Mexican composer ROSALÍA SORIA LUZ and German video artist SABINE BÜRGER. The 8-channel fixed media piece uses largely synthetic sounds created through sonifications of state-space models. Sound evolution and spatialisation reflect the behaviors of the models, creating continuously evolving textures. The visuals were created after the audio piece. The technique is literally constructivist, referencing the aesthetics of suprematism in the use of geometric cells to contain footage. ROSALÍA SORIA LUZ is a Mexican composer based in Freiburg, Germany. She is currently a member of the National System for the Creation of Arts in Mexico. Her research is focused on multi-channel composition using state-space models and sonification. In 2012 she received the prestigious PDS award from the University of Manchester, where she completed a PhD in Music at the NOVARS Research Centre in 2016. SABINE BÜRGER studied visual art at Düsseldorf art academy. She focuses on video, exploring audio-visual interfaces with such musicians as Heiner Göbbels, William Basinski, Machinefabriek, and Steve Roden. "Synthetic Springs" is her second collaboration with Rosalía Soria Luz, following "The Silver Key", which was presented at ISSTA 2017 at Dundalk Institute of Technology, Ireland.
ALO ALLIK is a sound artist who has performed his electronic music and generative computer graphics throughout the world. His aesthetically and geographically restless lifestyle has enabled him to traverse a diverse range of musical worlds including DJ-ing, live electronic jam sessions, electroacoustic composition, free improvisation and audiovisual performances. In recent years he has been developing a style he describes as noisefunk which combines traditional rhythm patterns with evolutionary synthesis algorithms.His improvised audiovisual performance "λ" explores enhanced live coding as a strategy for real time multimodal synthesis and composition. The real time decision-making process of the programmer-performer is informed and aided by interactive machine learning, artificial intelligence and automated agent algorithms. The system facilitates human-computer interaction through live coding during performances to create extemporized immersive multimodal experiences for audiences. The multimodal content during performances is created with reactive artificial life algorithms, evolutionary sound synthesis, machine listening and music analysis. Autonomous agent systems, audio feature extraction and linked semantic data formats help the performer cope with the complexities of multimedia performance environments.
JIŘÍ SUCHÁNEK is a sound and media artist, musician and multimedia experimenter based in Brno, Czech Republic. Jiří is focused on building permanent audio-light installations that are usually interactive and placed in natural or public spaces. In his works he is connecting sound, light, sculptural objects, electronics + code with carefully chosen spaces. Sonification used in music composition and sound art is a topic of his Ph.D. thesis. His work for klingt gut 2018 "Atom Tone" is a sonification written in max/msp. Its goal is to generate sonic spectrum and textures based and controlled by atomic data and using generated sounds in compositions or live electroacoustic music. Atomic spectroscopic data are used as a source for additive synthesis – each oscillator is tuned to recalculated exact light frequency of the atomic emission spectral line. Each element thus creates a specific atonal "chord". This sound is then modulated with several adjustable processes. Parameters for these processes are set up with numbers taken from the Mendeleev periodic table of elements. The aim is to discover musical logic based on inner proportions and selected properties of the atoms, and to explore aesthetic qualities of generated sounds.
Recording and Mixing in Immersive Audio: STEFAN BOCK is giving a workshop together with STEFAN ZARADIC. The workshop provides insights into the challenges of recording and postproduction of various immersive live and studio productions. The focus is the optimization of the entire production process and the stringent transfer to various end-user formats, such as Dolby Atmos, DTS-X, Auro 3D and their binauralization. Stefan and Stefan will show several projects, i.e: the Tetragon-Project immersive concert in the György Ligety Room 2016 which was immersive recorded and mixed for Blu-ray and Pure Audio Blu-ray in various object-based formats. As well, we will present an number of studio recordings, all realized in immersive audio.Stefan Bock started his career in 1987 as an audio engineer. After freelancing in different facilities in Munich (i.e. Bayerischer Rundfunk, BMG studios), he co-founded msm-studios in 1991 where he was Chief Mastering Enginneer and General Manager. Since 2007, Stefan Bock and his team are involved in Blu-ray encoding and authoring services. Under his leadership applications like Pure Audio Blu-ray and mShuttle have been developed. In 2012 he was involved in the first immersive audio projects with Auro 3D, since 2015 msm-studios is as well dealing with Dolby Atmos home mixing, mastering and encoding. In 2018, Stefan Bock co-founded IAN solutions. IAN (Immersive Audio Network) is focussing on productions and solutions for immersive audio.
TOM AMMERMANN will demonstrate how to create MPEG-H with common DAWs. As the MPEG-H format will likely become a standard for object based and 3D content, it’s very likely that the demand for MPEG-H content will increase very soon. The presentation will show how to create, edit and export content for that application quick and easy in common production workflows with any DAW.Grammy nominated music producer, Tom Ammermann began his journey as a musician and music producer in the 1980s. At the turn of the 21st Century, Tom produced unique surround audio productions for music and film projects as well as pioneering the very first surround mixes for headphones, which quickly established his brand Headphone Surround 3D and reputation as an immersive audio producer. Among his References on immersive / 3D Audio works are Terminator 2, Mr. & Mrs. Smith, Expendables I-III, Kraftwerk 3D, and, most recently, Luc Besson's modern SciFi classic The 5th Element - the latter might also be screened and discussed at klingt gut 2018!
CHIARA KRAMER and JENS SCHMIDT present "Control is a Cage (and Cage is a Key)", an interactive sound installation inspired by the graphic notation "Fontana Mix" by the composer and artist John Cage, published in 1958. The installation researches on the principles of aleatory and open scores within interactive situations. Selection and organisation of musical events depend on the actions of the performer - respectively the visitor. His/her operations generate a new constellation of the score, electro-acoustically realised through pre-produced noises, voices or tones.Chiara Kramer studied media and cultural studies at the University Düsseldorf and Sound/Vision at HAW Hamburg. Her research focus is the scientific and historical examination of graphic notation as a means of communication. During her studies, she helped design sound installations and projects for the Körber Foundation, the Musical Instrument Museum Berlin, the HfMT Hamburg and the Technical University in Berlin in cooperation with other artists and sound designers.Jens Schmidt studied cultural and media studies, arts education and music in Düsseldorf and Hildesheim. Currently resident in Jena, he is working on sound installations and music performance researching on interactive formats in experimental music. His main topics include the phenomenon of voice, embodied art reception and non-hierarchical creativity. Chiara and Jens met during their bachelor studies in Düsseldorf and both pursued a career in sound art. "Control is a Cage (and Cage is a Key)" is their first joint project.
DEMIAN RUDEL REY is an Argentinean composer and guitarist. Currently he is pursuing a Master of Composition at the CNSMD de Lyon. He attended Courses and master classes with López López, Murail, Bedrossian, Dhomont, Vaggione, Vande Gorne, Normandeau, Tutschku, among others. In Argentina he gained two Higher Diplomas in Guitar at the "Astor Piazzolla" Conservatory and EMBA, and a Bachelor's Degree in Composition and a Master's Degree in Combined Arts from the National University of Arts. At klingt gut 2018 Demian will present "Che-toi", an electroacoustic work inspired in the French and Argentinian culture. This is represented with the use of monosyllabic words like che, no, toi, moi, temp, etc. Moreover, there are quotes and fragments of French Baroque music and Argentinian tango. There are also referential sounds of instruments such as bandone on and accordion which interact with more abstract materials.
Born in the heart of the Ruhrgebiet, Germany, VALERIE QUADE studied Film & Sound at the FH Dortmund and the Folkwang University of Arts, Essen. During her Uni years she worked in a broad arts spectrum including sound and music projects, costume design, cosplay, game design and game journalism. After graduating, she continues her education with the Communication, Media, Sound and Interaction Design Master programme at FH Joanneum Graz. She focuses on Ambisonic compositions, acoustic ecology and sound management. At klingt gut 2018 she will present "Energy Life": Ever wondered how a coffee machine sounds from the inside? Soon you will know. In this Ambisonic Radio Play the listener dives through the electric world of our daily life, from high voltage to an easy 5V for our smartphone.
PHILIP MILL is a sound artist/recordist, musician and audio technician living and working in London, a wide range of areas to better reinforce and represent creating 'the sense of place' using surround sound and binaural audio recording and mixing techniques. Phil has previously created works at Sound + Environment, Hull University, Cambridge ALL festival and performed at the Cricoteka in Krakow alongside Krzysztof Topolski as part of the Polifonie event series and has created works for Sonospace, an online field recording label.At klingt gut 2018 he will present "Roaming Data - Extended Listening": Sound Recordings made in Poland 2018. For the last 2 years Phil has been travelling and recording in different parts of Poland, based on the idea of travelling/documentation and a constant listening to an unfamiliar soundscape/familiar environments. The project touches on documenting the changing environments and soundscapes, utilizing traditional, extended, binaural and surround sound recording techniques to accurately recreate these spaces and listening experiences. Phil will present his methods and experiences of travelling, sound recording and beyond as a performative presentation.
SINAN BÖKESOY is a composer, developer (sonicLAB & sonicPlanet) and sound artist based in Istanbul, currently working on sonic augmented reality using mobile platforms on interactive spaces. Holding a Ph.D. from University of Paris in computer music, Bökesoy has been an active researcher / composer with works presented in ICMC, DAFX, NIME, CMJ (MIT Press) and more. At klingt gut 2018 he will discuss current directions in sound synthesis in ambisonic sound fields: Regarding sound spatialisation as an extended gesture of sound synthesis - what is an efficient strategy of embedding the sound object, and represent its temporal features on spatial domains? What example framework to follow for audio programming addressing 3D audio, and appropriate platform based solutions ? Also a live case study with Cosmosƒ stochastic synthesiser will be presented, a professional tool which can spatialise and encode its evolving dynamic content directy mapped as 1st order or 3rd order ambisonic space.
SZYMON ALEKSANDER PIOTROWSKI and PAWEL MALECKI will present the production of electronic music in ambisonics with "PROJEKT ANTON - interstellar music travel in 3D". Projekt Anton is an electronic album about interstellar travel and man's desolate journey through the universe. The sound of the album is inspired by compositions of Russian electronic music artists from the 90's and early 2000's, based mostly on the sounds from analog synthesizers. Composer, arranger and musician, Szymon Aleksander Piotrowski, inspired by ambisonic ambient recordings by sound engineer Paweł Małecki and three-dimensional thinking during composing, decided to present his music in 3D and to execute an ambisonics mix of the album. This session includes playback in the 33.2 loudspeaker dome with video, description of tools used, implementation and mixing process, and the technical, creative and aesthetic choices during the design process.
SZYMON ALEKSANDER PIOTROWSKI is a Producer, sound engineer, musician and composer. Pursues his passion to sound all around the world, lately in Stavanger (NOR) and at the Banff Centre (CAN). Composes original music and sound design for games and videos. PAWEL MALECKI received his Ph.D. with a thesis on the auralization of reverberant spaces. In his research he focuses on psychoacoustic aspects of music perception in the diffuse field and auralization techniques combined with ambisonics and 3D ambient recordings. He works at the AGH University and as a freelancing sound engineer specialized in acoustic and ethno music.
Finnish composer ARI PULKKINEN, best known for his music for "Angry Birds", will conduct a workshop on composing for videogames. This event is supported by our partner Media Sound Hamburg Summer School.
As a music and audio professional, Ari Pulkkinen has gained the deep knowledge and specialized in the field of music and sound design in game industry. His work as a composer, sound designer as well as music and audio producer has left a memorable mark in many productions and independent projects. The Finnish demoscene and mod tracker background was fundamental to Ari’s work. After years of making music just as a hobby, he was hired to Frozenbyte Inc. in 2003 to make his first commercial product, Shadowgrounds (PC) game (2005) sound design and Original Soundtrack, which became an instant cult classic for many gamers. The actual professional quantum leap for Ari was his five year long career as an in-house Audio Director with Frozenbyte, Inc. working as composer, sound designer and even a writer & designer with the games like Jack Claw Demo (Multiplatform) and Shadowgrounds Survivor (PC/2007) and outsourced to make the highly popular Super Stardust HD (PS3/2007). Now after 8 years of professional work in game industry, Ari has been making games like Trine (PS3/PC), Angry Birds franchise (multiplatform), Dead Nation (PS3), Outland (PS3/360) and Bike Baron. Ari’s recently published games are Trine 2, Super Stardust Delta, Trine 2 The Goblin Menace and Angry Birds Trilogy and the latest one Resogun for PS4.
Pawel Malecki & Szymon Aleksander
GORAN LAZAREVIC comes from Serbia where he graduated classical accordion in the class of Prof. Radomir Tomić. In 2013 he moved to Hamburg where he did “Kontaktstudium Neue Kompositionstechniken” and subsequently started Master Multimedia Composition. His main spheres of interest lay in live-electronics, microtonal music, free improvisation and computer music, as well brain-computer musical interfaces (BCMI) and cognitive sciences. At klingt gut 2018 he will present the "Healing Soundscapes" - an interactive, generative sound installation for hospital waiting areas. This demo showcases the hardware and software setups used for the project conducted as a cooperation between Hamburg University of Music and Drama, Hamburg University and University Medical Center Hamburg-Eppendorf. Visitors will be able to hear and interact with several compositions of different multimedia composers who are exploring how interventions via interactive, generative music systems may contribute to the improvement of the atmosphere and thus to the well-being of patients in hospital waiting areas.
DIMITRIOS SAVVA was born in Cyprus. He received his Bachelor degree in music composition from the Ionian University of Corfu and his Master degree in Electroacoustic composition from the University of Manchester. In January 2015 he started his PhD in Sheffield University. His compositions have been performed in many international festivals of electroacoustic music, and he received prestigious awards for his work, including the composition competition Metamorphoses 2012 and 2014 and the Franz Liszt residency-scholarship award. At klingt gut 2018 he will present his 8-channel acousmatic work "Moments Of Liberty: II. Falling Within".
JULIAN RAMBOW received the Bachelor of Arts in Cultural Studies with a minor in Digital Media from Lüneburg University and is currently pursuing the Master program "Sound/Vision" at Hamburg University of Applied Sciences, and he works as a boom operator and field recordist for short films, television and cinema. At klingt gut 2018 he will discuss film sound design in "found footage" film: Found footage films are movies that are specifically designed to look and sound as unedited and 'found' material. Besides the imitation of amateur authenticity, these films have in common that the recording equipment is part of the diegetic world and interacts with it. This breaks with the common practice of main-stream cinema to hide the references to the production process, opening up interesting new approaches on established practices in film sound-design. The talk focuses on how the sound is influenced by, and mimics, the aesthetics of actual amateur film-making, how placing the camera in the diegetic world influences the presentation of subjectivity and how this conveys a sense of authenticity.
BENJAMIN FEDER, student at hdpk Berlin, will demonstrate and discuss the "GlitchRack" - a sound design tool offering effects that one usually do not find in the normal effects rack. Every effect is strictly minimized. All the effects manipulate the signal such that it sounds "wrong". These mistakes can be used to imperfectionize your work. The rack is designed for musicians that like glitches and mistakes and want to add them to their music without being troubled too much. At the same time the GlitchRack provides an infrastructure that makes it really easy to add new effects, programmed on one's own. So, if you are a coder, pretty fluent with C++ (or in general pure code), this rack might come in handy.
The full program is available here. Please keep an eye on our Facebook feed and website, as we will be releasing information about confirmed workshops and invited lecturers beforehand.
Registering for workshops will be done onsite at the registration desk, unless stated otherwise. Please keep an eye on our Facebook feed and website for more information regarding our workshop program.
The registration desk will be open starting Wednesday at 12:00 and then daily from 9:00–18:00.
For early registration, take the opportunity to come to the registration desk on Wednesday or early Thursday.
Workshops are free (except e.g. material costs, which will be noted separately), but have limited seats. We suggest you check-in early, to reserve space for the workshop you are interested in.
Our Event Sponsors
klingt gut + Pre-Conference 4-day Masterclass
7th - 9th Jun
4th - 7th Jun
Composing in 3D Audio
Rocío Cano Valiño
The Krachkisten Orchestra
Fredrik Mathias Josefson
Jam Session Machine
Clemens von Reusner
Rosalía Soria Luz
Cobi Van Tonder
Demian Rudel Rey
Kyriakos Charalampides, Giuliano Anzani, Chris Loupis and
Sonic Interventions in the Healthcare Sector
Jedrzej Borowski, Krzysztof Bulawski, Krzysztof
Goliasz and Jan Sokolnicki