tag:blogger.com,1999:blog-303874792024-03-13T09:54:05.470+01:00Unidentified Sound ObjectOriginal Sound Effects Libraries, Custom Sound Design, Consulting Audio Content for third party software.Synesthesia Recordingshttp://www.blogger.com/profile/11528330185022898424noreply@blogger.comBlogger616125tag:blogger.com,1999:blog-30387479.post-47978431774236405632020-11-27T19:15:00.006+01:002020-11-27T19:18:20.150+01:00"Back and Forth", a new Scratch and Turntable Sound Effects Kit<div style="text-align: left;"><br /><div style="text-align: justify;"><a href="http://www.unidentifiedsoundobject.com/product/back-and-forth/" target="_blank">Back and Forth</a> was born of an idea with my pal <a href="https://www.lorenzoditria.com/">Lorenzo di Tria</a> (aka Dj Mate), thinking on how to build an intuitive and great sounding music tool for contemporary producers and sound designers.<br /></div></div><div style="text-align: justify;"> Based on Lorenzo’s experience on the art of turntablism, this library is now an easy way to add real scratch and turntable performances to your musical and audiovisual projects, and finally make them sounds better then ever before.</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqPqq5VbDnvczwEy0cbkFQIcXZdzBLq76GRzCOyeoxPi4kFGmALLPo-lhknDLZsOvxaqBpYESDYI36s7M4V5UwBxyWegl-xfcigCdhjf5dugM0q1Ba45z2f4G7O6D5NZHOAWAHQ/s1080/Back_and_Forth_artwork.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqPqq5VbDnvczwEy0cbkFQIcXZdzBLq76GRzCOyeoxPi4kFGmALLPo-lhknDLZsOvxaqBpYESDYI36s7M4V5UwBxyWegl-xfcigCdhjf5dugM0q1Ba45z2f4G7O6D5NZHOAWAHQ/w400-h400/Back_and_Forth_artwork.jpg" width="400" /></a><br /></div><div style="text-align: justify;"> Back and Forth differs from any other scratch library on the galaxy for its 400 samples recorded entirely in the studio only with real vinyls, plus a unique <a href="https://www.ableton.com/en/live/">Ableton Live</a> Instrument (.amxd): the <b>Scratch Machine</b>. It’s a magical sample-based scratch improvisator that combines many different scratch combos with criteria. With the ability to choose six different classic samples (THA, FRESH, TWAI, AYE, YE, YO), the Scratch Machine adds a timeless and authentic turntablist to any type of production, from the most old school Breakbeat, to the freshest Trap Vibe.<br />But wait, there’s more: <b>THE QnA LOOPER – VOL.1</b> is included in the package and it’s free! It’s a new way of thinking the scratch looper. Now you can easily improve your dj skills using just this <a href="https://cycling74.com/products/max">Max/MSP</a> standalone application (for Mac and PC) and practice on 18 different beats with an automated scratch engine! With 900 sample-based answers, the QnA Looper makes easier and smarter your training sessions.</div><div style="text-align: justify;"> </div><div style="text-align: justify;"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">Use coupon code "<b>bf2020</b>" to get 25% off on all our libraries until November 30th</span> [<a href="http://www.unidentifiedsoundobject.com/product/back-and-forth/" target="_blank">Find out more</a>] <br /></div> <br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-12579251724799864062020-04-21T11:45:00.000+02:002020-04-21T11:50:17.104+02:00#OUTNOW: Intra Muros<div style="text-align: justify;">
I'm pleased to announce the release of "Intra Muros", a new ambient album I composed with <a href="https://www.facebook.com/peoplelikesound" target="_blank">Enrico Ascoli:</a></div>
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Check it out here: <a href="https://linktr.ee/matteomilani" target="_blank">linktr.ee/matteomilani </a></div>
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<i><b>Intra Muros</b> is a project born during the quarantine nights in March 2020, via a remote collaboration (Milan> Turin). </i></div>
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<i>The eleven sound-objects, improvised day by day in a sort of creative ping pong between the minds of Matteo and Enrico, overcome the physical barriers of their confinement and recompose themselves the form of apparently stable, but remarkably articulated sound sculptures. </i></div>
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<i>During the quarantine the apartments have become simultaneously protective shells and static prisons that vibrate, perturbed by ambivalent feelings of calm and tension. </i></div>
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<i>The tracks symbolize these movements of the souls in constant balance between fever pitch and research of a new interior peace, giving life to an immersive and iridescent sound textures. </i></div>
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Composed & Mixed by Matteo Milani & Enrico Ascoli </div>
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Mastered by Matteo Milani</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-24053138676533812192020-03-27T17:57:00.003+01:002020-03-27T17:58:40.329+01:00#OUTNOW: Wasted Planet<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxFgmXdbT8W9CcCWP3ylituYnglMTph4x4FVieIARs1EOQpi7blhWcpOVmEFDWxJ8u1cSgxG1TyjGTd4KKeeCvrGxkpRyzfa7Dl3u62v1WggYg-S1WMttF99ZJkirTJwQVZ-K6Sw/s1600/Wasted_Planet.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1440" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxFgmXdbT8W9CcCWP3ylituYnglMTph4x4FVieIARs1EOQpi7blhWcpOVmEFDWxJ8u1cSgxG1TyjGTd4KKeeCvrGxkpRyzfa7Dl3u62v1WggYg-S1WMttF99ZJkirTJwQVZ-K6Sw/s400/Wasted_Planet.jpeg" width="400" /></a></div>
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In this surreal moment where a hypnotic silence takes hold of our cities, where the Internet makes us feel closer than ever, I am extremely happy to announce the release of <a href="https://www.miraloop.com/records/en//release/item/316/wasted-planet" target="_blank">Wasted Planet</a>, a disc composed together with my friend <a href="https://www.youtube.com/user/artofcounterpoint" target="_blank">Giovanni Dettori</a> and published by <a href="https://www.miraloop.com/records/en//nodo/p/diamonds" target="_blank">Miraloop Diamonds</a>. The album is the result of a long experimentation and research of new timbres and atmospheres between classical and electronic. The fusion between the depth of acoustic instruments belonging to the orchestral world and the detail of abstract sound textures, has allowed us to create suggestions with a cinematographic flavor, an omen of an uncertain future.
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An ideal alternative soundtrack to reflect during our long quarantine period? Maybe ... the answer is yours!
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Thanks to Feyzi Brera (Violin, Viola), Engjellushe Bace (Violin), Stefano (French Horn) and Micol Pisanu (Soprano) for the masterful performances.
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Happy listening!
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Matteo<br />
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<a href="https://www.miraloop.com/records/release/landing/316/wasted-planet" target="_blank">Discover "Wasted Planet" now - available everywhere! </a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-87833348042649253552020-01-04T16:09:00.000+01:002020-01-04T16:09:01.500+01:00Unidentified Sound Object @ the 2020 NAMM Show<div style="text-align: justify;">
Save 30% on our sound effects libraries to celebrate <b>NAMM</b> 2020 using the exclusive promo code "<b>namm2020</b>" - let's meet up at the Anaheim Convention Center (January 16-19)! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSdjI5ooNKNNszN5kuFzBGHPH9jQbuIlHnJbrO3xH7Z_zDvaUuDbTl7s4GlJVfBG7cD14oJ1aMDlu6C24ABtTtKTmmZjRjrFlOfSJHJyOBcTtk3tS6W7hLCQ-9BA4cw1XxxV4mEw/s1600/bigliettoUSOfronte.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="814" data-original-width="814" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSdjI5ooNKNNszN5kuFzBGHPH9jQbuIlHnJbrO3xH7Z_zDvaUuDbTl7s4GlJVfBG7cD14oJ1aMDlu6C24ABtTtKTmmZjRjrFlOfSJHJyOBcTtk3tS6W7hLCQ-9BA4cw1XxxV4mEw/s400/bigliettoUSOfronte.png" width="400" /></a></div>
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START SHOPPING: <a href="http://www.unidentifiedsoundobject.com/shop/" target="_blank">unidentifiedsoundobject.com/shop</a></div>
Unknownnoreply@blogger.com0800 W Katella Ave, Anaheim, CA 92802, Stati Uniti33.7998033 -117.920350499999988.2777688 -159.22894449999998 59.3218378 -76.611756499999984tag:blogger.com,1999:blog-30387479.post-20263932311245151532019-09-27T07:30:00.001+02:002019-09-27T07:34:06.624+02:00OUT NOW: Kyma Ambiences vol.2<div class="wpb_text_column wpb_content_element vc_custom_1569420323549">
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<a href="http://www.unidentifiedsoundobject.com/wp-content/uploads/2018/03/Kyma_Ambiences_vol2_artwork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.unidentifiedsoundobject.com/wp-content/uploads/2018/03/Kyma_Ambiences_vol2_artwork.jpg" data-original-height="800" data-original-width="800" height="400" width="400" /></a></div>
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<a href="http://www.unidentifiedsoundobject.com/product/kyma-ambiences-vol-2/" target="_blank">Kyma Ambiences vol.2</a> contains <b>100 abstract and evolving ambiences</b> created with our beloved <a href="http://kyma.symbolicsound.com/" rel="noopener noreferrer" target="_blank">Kyma</a> sound design workstation.</div>
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Due to the increasing demand of spatialized content for game and <b>VR/AR</b> project, this inspiring collection has been entirely designed as a spherical representation of sound natively in <b>3rd Order Ambisonics</b> by generating all the Sounds in Kyma and mastering them in Pro Tools through a custom analog setup.</div>
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<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/685776388&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe>
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Create a truly immersive and dystopian atmosphere with the 2nd volume of the <a href="http://www.unidentifiedsoundobject.com/kyma-ambiences-vol-1/" rel="noopener noreferrer" target="_blank">classic Kyma Ambiences</a> sound effects library.<br />
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<a href="http://www.unidentifiedsoundobject.com/product/kyma-ambiences-vol-2/" target="_blank">FIND OUT MORE </a></h4>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-63567676908003288072019-09-04T16:35:00.000+02:002020-01-21T12:18:54.244+01:00Kyma Ambisonic Toolkit<b>NeverEngine Labs</b> presents <a href="http://www.cristianvogel.com/neverenginelabs/product/kyma-ambisonic-toolkit" rel="noopener" target="_blank">KAT</a>, the first realtime #Ambisonic synthesis library for the <a href="https://kyma.symbolicsound.com/" rel="noopener" target="_blank">Kyma sound design language</a> - it's been a pleasure working with <b>Cristian Vogel</b> and <b>Anders Tveit</b> on the toolkit development!<br />
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<a href="https://www.cristianvogel.com/neverenginelabs/wp-content/uploads/2018/11/KAT-Splash-400x566.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="565" height="640" src="https://www.cristianvogel.com/neverenginelabs/wp-content/uploads/2018/11/KAT-Splash-400x566.jpg" width="452" /></a></div>
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What is Ambisonics? </h4>
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<a href="http://www.unidentifiedsoundobject.com/product-category/ambisonics/" target="_blank">Ambisonics</a> is a method for recording, mixing and playing back a 360-degree sphere of sound coming from different directions around a center point.
This center point is where the listener’s sweet spot is located while playing back.
Ambisonics can create a smooth, stable and continuous sphere of sound, complete with elevation, where sounds are easily represented as coming from above, below, in front or behind the user.
Ambisonics is “speaker-agnostic.” It can be decoded to any speaker array or headphones, without being restricted by the limitations of any specific playback system. </div>
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<a href="https://www.blogger.com/en.wikipedia.org/wiki/Ambisonicshttps://en.wikipedia.org/wiki/Ambisonics" target="_blank">en.wikipedia.org/wiki/Ambisonics</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-55601964806725303662016-08-23T15:46:00.000+02:002019-09-04T16:55:00.758+02:00OUT NOW: Imagined Spaces – IR Library<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.unidentifiedsoundobject.com/wp-content/uploads/2016/06/pack.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.unidentifiedsoundobject.com/wp-content/uploads/2016/06/pack.jpg" width="198" /></a></div>
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<b>A creative collection of carefully synthesised Impulse Responses.</b></div>
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I'm proud to present Imagined Spaces, a new <a href="https://overloud.com/products/rematrix" target="_blank">REmatrix</a> library, the result of an extensive research in collaboration with <a href="http://www.morevox.com/" target="_blank">MoReVox</a> and <a href="http://www.overloud.com/" target="_blank">Overloud</a>. Imagined Spaces blurs the line between filtering and reverberation. Sound designers, sound editors, mixing engineers, composers and anyone who paints with sound will enjoy the surprising stuff included in the library, from strange but realistic locations to alien and odd ones.</div>
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Lots of IRs have been developed in <a href="http://kyma.symbolicsound.com/" target="_blank">Kyma sound design environment</a> with synthesis/processing algorithms in the frequency and time domain, like waveshaping, frequency and time scaling, iterative convolution (spectra recombination of different IRs), among the others.</div>
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To create reverbs rich in diffuse field, white and pink noise has been treated with radical equalisation curves. Subsequently, Pro Tools has been abused for pitch and time alteration, dynamic filtering or capturing the sonic characteristics of custom plug-in chains to obtain eccentric ambiences with extremely different durations.</div>
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Imagined Spaces is conceived as a key tool not only to “paint" your tracks with air, depth and new perspectives, but also to expand and transform the original material into new ones.</div>
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With this advanced sound design collection, you can add life to dry and poor sample or original recordings. If you’re looking for tactile effects, Imagined Spaces is the spark you need to boost your imagination: you’ll easily get a density never obtained before with classic convolution and algorithm reverbs.</div>
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<a href="https://overloud.com/products/imagined-spaces" target="_blank">Try it for yourself!</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-56413919966023451702015-11-06T09:14:00.001+01:002015-11-06T09:14:14.299+01:00GRM pt.3: What made Syter original(Continued from <a href="http://usoproject.blogspot.it/2012/03/grm-pt2-birth-of-concept.html" target="_blank">pt.2</a>)<br />
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an excerpt from the booklet about the <a href="http://www.musicainformatica.it/english/topics/syter.php" target="_blank">Syter</a> system at <a href="http://www.inagrm.com/" target="_blank">INA - GRM</a> | <a href="http://www.electrocd.com/en/cat/ina_c_1030/" target="_blank"><span class="titre"><span class="t">Archives GRM (</span></span>CD 4)</a> - by <a href="http://fr.linkedin.com/pub/daniel-teruggi/2a/58/778" target="_blank"><span class="ind">Daniel Teruggi</span></a><br />
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Looking back on it now, it is not easy to describe just how original the tool was for the time. It was at this time that the first "black boxes" were beginning to appear in the shops, at very high prices, enabling users to do a limited amount of processing to sounds. It was impossible to programme these devices. They had a certain number of parameters which were determined in advance and could be controlled using buttons and potentiometers to simulate analogue devices. At the same time, the first samplers were appearing, enabling users to record a sound just a few seconds long into memory and then to replay it, by transposing it and modifying certain parameters.<br />
Syter was all of that and much more besides: processing and synthesis tools, rapid memories, the possibility of reading and recording sounds in real time on a hard disk (500 Mb, which was considered to be absolutely fabulous at the time) and above all, the possibility of reprogramming the processing tools and building new ones to your heart's desire, using a modular programming approach. Syter was the potential book of magic on the basis of which all the existing processing and synthesis methods could be rethought and new processes imagined and designed. All of this had a cost, and the price of the system was such that only one institution was able to buy it (although it was only about 10 times the cost of a synthesiser or a digital processing box at the time), and it required maintenance engineers to keep it running.<br />
The originality came from the fact that processing methods that had come from studio work, and which had been used from the outset for GRM concrete music, were made readily available, without the need to learn programming languages or to have an assistant constantly on hand. In other words, the real originality was to be found in the algorithms and the interfaces.<br />
Concrete music and the use of electroacoustic studios had stabilised and modelled a certain number of sound-related operations on the basis of perception-based concepts. For example, an extremely powerful analogue studio process, "micro-editing", involved cutting minute fragments of sound from magnetic tape (using scissors!), which were then stuck end to end to create a new continuity. This principle was very successfully applied by the deferred time software and by Syter, making it possible to reorganise the material into new coherent sequences. This became known as "brewing". But brewing is not the end of the story, because the difficulty lies in controlling the way the brew comes together. Graphical interfaces, which these days are at the very heart of all computer technology, but which at the time were practically unheard of, were used to visualise the sound and the control parameters, and there was even an interpolation screen for exploring the intermediary terrain between two processing states.<br />
Syter was a hit with musicians, both for studio work and instrumental work. In the studio, it could be easily built into the existing environment and breathed new life into the palette of processing possibilities. The system was essentially used for the processing of sound, meaning that the composer would record sounds and then modify them using the processing tools that were already built in, or by creating his own tools. In so doing, he would be faithful to the GRM tradition of processed sound, even though many hybrid processing techniques (between recorded sounds and synthesised sounds) provided entirely new kinds of sound. This material would then become (whether or not mixed with other sounds from other sources) the basis on which the composer would build his work.<br />
Furthermore, at the time there was a unique relationship between composers and technical designers, who thanks to the modular programming techniques and their user-friendliness, could quickly build the tools necessary for creative work. A number of models that were later to become GRM Tools were a result ot this experimental relationship (in particular Doppler and Pitch Accum]. Once they had been built up, these algorithms were simple to implement, and integrated the whole palette of processing tools available in the system (around 40 different algorithms were designed and 15O variants of these basic algorithms).</div>
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<b>An approach founded in pedagogy</b><br />
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The philosophy of the GRM has always been that the creator should work independently on his own process of composition, without the assistance of anybody else. Most composers had the training necessary to handle the techniques, to understand and work the analogue studio, and only in very rare cases were they assisted by the technician-musician. There was such a great interest in the deterred time software or the Syter system, and it was aimed at musicians of such varied backgrounds, that a training programme had to be set up in order to help them come to grips with the different systems. Man of these composers who came from an electroacoustic background, and many others were not familiar with studio techniques but who wished to become acquainted with them and develop projects bringing together instrumental and electroacoustic techniques. There were many other professionals from other fields: artists, radio and sound technicians, teachers or musicologists.<br />
Week-long courses with small groups of trainees began to be organised 2 or 3 times a year, involving generally 6 to 8 participants (a total of 20 courses between 1985 and 1993]. During these courses, the system was explained and the participants had the chance to experiment and play with sounds. The objectives of these courses were manifold: the first was to provide composers with the training necessary for them to be autonomous in their work and to enable them to develop a project.<br />
Another objective was to test the system with users. Because it was such an innovative system, using original approaches with regard to algorithms and interfaces, it had to demonstrate that it was up to the task and that the composers could use it easily and efficiently. Around 120 people followed these courses, and 80 works were composed, sometimes several of which were written by the same composer.</div>
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<b>From pedagogy to production and concert presentation</b><br />
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Many of the composers were attracted by the possibilities offered in terms of the real time processing of acoustic sounds, and embarked on projects that brought together live instrumentalists, real time processing and recorded sounds. Others used the system in the studio, for acousmatic works, either to complement other existing studio technologies and tools, or sometimes as the sole production tool.<br />
I was personally involved in this pedagogical and production aspect of the Syter system for some ten years. When it was first presented in-house in 1984, everybody underlined the technical prowess it had been to develop a system of that kind, but there was little enthusiasm on the part of the GRM composers, in light of the small number of existing algorithms and the fact that there were no instructions for use. I was fascinated by this approach and I proposed to Jean-François Allouis that I would help him in his project, in particular by explaining to composers how the system worked and by writing up a manual. We then organised the first training sessions in August 1985 and August 1986, and thereafter I took charge of the courses and production associated with the system and the development of variants of the instruments, in response to requests made by composers. I was therefore able to meet everybody who participated in the courses and I followed everything that was produced using Syter. I also played a great many works that involved Syter for the real time processing of instrumental sound Ia task that we became particularly involved in with Richard Bulski, the system technician, especially for moving it and setting it up for concerts).<br />
I was able to gain an extensive and in-depth knowledge of how the system functioned, so much so that I was able to write my PhD dissertation on Syter (The Syter system, its history, development, musical production and implication in contemporary electroacoustic language, presented in December 1998 at the University of Paris VIII). I composed ten pieces on the system, some of which were with instruments, using the system only to produce electroacoustic sound, and others which were acousmatic, where a great deal of the sound creation work was done on Syter from start to finish. I began to move away from the system in around 1993, when it was beginning to become obsolete and when the first versions of GRM Tools were becoming available on Macintosh, designed and built by Hugues Vinet, who took much of his inspiration from the algorithms of Syter. I also realised, in 1993, that my life had been too wrapped up in the system, when a composer asked me seriously whether Syter was an acronym for System Teruggi!<br />
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<a href="http://www.inagrm.com/grmtools" target="_blank">inagrm.com/grmtools </a><br />
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[<a href="http://usoproject.blogspot.it/2012/03/grm-pt2-birth-of-concept.html" target="_blank">Prev</a> | <a href="http://usoproject.blogspot.it/2011/05/grm-tools-pt1-interview-with-emmanuel.html" target="_blank">1</a> | <a href="http://usoproject.blogspot.it/2012/03/grm-pt2-birth-of-concept.html" target="_blank">2</a> ] </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-68538962170313224172014-10-16T09:07:00.000+02:002014-10-16T09:12:01.242+02:00"Transmission Apparatus" Sound Effects Library Preview<div style="text-align: justify;">
Coming soon from <b>Unidentified Sound Object</b> is "Transmission Apparatus", a construction kit to create a wide palette of communication sounds, from real to “alien” broadcasting signals.</div>
<br />
<iframe frameborder="no" height="500" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/169160048&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe><br />
<br />
Available <b>November 2014</b> on <a href="http://www.unidentifiedsoundobject.com/" target="_blank">www.unidentifiedsoundobject.com</a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-30387479.post-13484855553375955062014-07-01T09:09:00.000+02:002014-07-01T09:09:52.010+02:00From Organs to Organs — KISS2014: Organic Sound<div style="text-align: justify;">
From organs (biological) to organs (musical), this year’s <b>Kyma International Sound Symposium</b> (#KISS2014), to be held in Lübeck Germany on 25-28 September 2014, will explore multiple meanings of the phrase “organic sound” through technical talks, live performances, and hands-on workshops. </div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhelwbrwfvPyIHRCutWY1jU2bgnlWB3IiR917bKByCEgUJI1ZbL41_hndIh0CswE6BCa5PeCLPOMBFOCPsP_FKfd1EN-sRhpu84Uqonp-E2wn58p1v-GLZAWnDNk_h6OgfNVtwApw/s1600/header-image.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhelwbrwfvPyIHRCutWY1jU2bgnlWB3IiR917bKByCEgUJI1ZbL41_hndIh0CswE6BCa5PeCLPOMBFOCPsP_FKfd1EN-sRhpu84Uqonp-E2wn58p1v-GLZAWnDNk_h6OgfNVtwApw/s1600/header-image.png" height="71" width="400" /></a></div>
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<div style="text-align: justify;">
Events will kick off with the unveiling of a <u>major new release of the Kyma software</u> and feature technical/philosophical sessions on topics ranging from voice processing, to sonification of organic chemicals and the Internet, to organic growth and decay, to how to build your own performance controller and use it to control Kyma via OSC, to presentations by individual composer/performers detailing how they utilize Kyma in their live performances and installations. </div>
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<div style="text-align: justify;">
The full program is online at: <a href="http://kiss2014.symbolicsound.com/detailed-program" target="_blank">http://kiss2014.symbolicsound.com/detailed-program </a></div>
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<div style="text-align: justify;">
Check out the lineup of presenters, composers, performers and Kyma experts here: <a href="http://kiss2014.symbolicsound.com/presenters-and-performers" target="_blank">http://kiss2014.symbolicsound.com/presenters-and-performers </a></div>
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Registration is now open: <a href="http://kiss2014.symbolicsound.com/kiss2014-registration" target="_blank">http://kiss2014.symbolicsound.com/kiss2014-registration</a></div>
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Discounts are available for students and for anyone registering before 1 August 2014. </div>
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<br /></div>
<div style="text-align: justify;">
For travel and lodging information, please visit: <a href="http://kiss2014.symbolicsound.com/travel-and-lodging" target="_blank">http://kiss2014.symbolicsound.com/travel-and-lodging </a></div>
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<br /></div>
<div style="text-align: justify;">
<b>More information </b></div>
<div style="text-align: left;">
KISS2014 Site: <a href="http://kiss2014.symbolicsound.com/" target="_blank">http://kiss2014.symbolicsound.com </a></div>
<div style="text-align: left;">
Facebook: <a href="https://www.facebook.com/pages/Kyma-International-Sound-Symposium/241910735840451" target="_blank">https://www.facebook.com/pages/Kyma-International-Sound-Symposium/241910735840451 </a></div>
<div style="text-align: left;">
Twitter: <a href="http://twitter.com/KymaSymposium" target="_blank">http://twitter.com/KymaSymposium</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-11995051331404604292013-11-19T09:33:00.000+01:002013-11-19T09:37:35.614+01:00Gary Rydstrom - Unexpected Sounds<div style="text-align: justify;">
<i>Here's my guest post "Gary Rydstrom’s Talk from VIEW"</i><i><i>, o</i>riginally published </i><i><i>on <a href="http://designingsound.org/2013/11/gary-rydstroms-talk-from-view/" target="_blank">Designing Sound</a></i></i></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://designingsound.org/wp-content/uploads/2013/11/IMG_1243-e1384437426472.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="http://designingsound.org/wp-content/uploads/2013/11/IMG_1243-e1384437426472.jpg" width="450" /></a></div>
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<br /></div>
<div style="text-align: justify;">
Last year, Skywalker Sound’s <a href="http://usoproject.blogspot.com/2011/06/interview-with-gary-rydstrom.html" target="_blank">Gary Rydstrom</a>, joined for the first time the roster at <a href="http://www.viewconference.it/" target="_blank">View Conference </a>– Italy’s leading computer graphics symposium – following <a href="http://usoproject.blogspot.it/2012/10/randy-thom-view-conference-2011.html" target="_blank">Randy Thom</a> in 2011. His feature presentation was called UNEXPECTED SOUNDS. The 19th October 2012, inside the Cavour Hall, at the conference center “Torino Incontra”, professionals and sound lovers coming from different countries, gathered to be part of this unique moment.</div>
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<br /></div>
<div style="text-align: justify;">
Now, we have the opportunity to present here at Designing Sound, the polished session of Gary at VIEW. The recording I made directly from the console to my Zoom H4 has been possible thanks to Maria Elena Gutierrez, director of the Festival. In this one-hour podcast, Gary talks about the art of sound design and illustrates how sound is being used and how it can be better used to tell stories. You’ll listen to many examples of raw sound effects recordings, designed sounds, and mixes from Pixar films, and live-action films such as “T2,” “Jurassic Park” and “War Horse”.</div>
<br />
Enjoy… and thanks Gary for your invaluable experience!<br />
<br />
Matteo<br />
<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/115937771&color=000000&auto_play=false&show_artwork=true" width="100%"></iframe>
<br />
<br />
<i>A special thanks to <a href="http://twitter.com/DynInterference" target="_blank">Shaun Farley</a> and <a href="http://twitter.com/lydrummet" target="_blank">Peter Albrechtsen</a>
</i>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-30387479.post-7284003811315323042013-09-20T13:34:00.000+02:002013-09-20T13:46:52.386+02:00Yuri Esposito @ 70th Venice Film Festival<div style="text-align: justify;">
<i>by Matteo Milani - U.S.O. Project, 2013</i><br />
<br />
<a href="http://www.imdb.com/title/tt2776004/" target="_blank">Yuri Esposito</a> is a film that I recently supervised (as sound designer and ambient music designer) which got its world premiere during the <b>70th Venice Film Festival</b>, with the support of <a href="http://www.labiennale.org/it/cinema/70-mostra/film/sel-uff/bcc/yuri-esposito.html" target="_blank">Biennale College – Cinema</a>. "Yuri Esposito" is a man whose slowness pervades every action in his life
and comes to constitute its essence, but his perennial lethargy is
challenged by a surprise paternity. It's directed by <a href="http://www.alessiofava.com/" target="_blank">Alessio Fava</a> - I previously worked with him on the ironic science fiction short film “Project Genesis” set in a future in which the machines give life to human beings (you can watch it <a href="https://vimeo.com/58557008" target="_blank">here</a>). </div>
<br />
<iframe allowfullscreen="" frameborder="0" height="264" mozallowfullscreen="" src="//player.vimeo.com/video/70611724?byline=0&portrait=0" webkitallowfullscreen="" width="500"></iframe>
<b> </b><br />
<h3>
<b>Press quotes: </b><b> </b></h3>
<h3>
<b><br /></b></h3>
<div style="text-align: justify;">
"The slow Yuri is a descendant of such minimalist screen clowns as Buster Keaton and Pierre Etaix; and Fava’s assured directorial sense touches on the signal difference between Hollywood movies and art films: pace. The slow Yuri is an art film in the bustle of a multiplex world". - <b>Richard and Mary Corliss</b> @ <a href="http://entertainment.time.com/2013/09/06/postcards-from-venice-previews-of-toronto" target="_blank">TIME.com</a></div>
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"The Italian film, “Yuri Esposito” — really stands out as a commercial entity. At yesterday’s panel, Stephanie Zacharek of the Village Voice praised it, and Richard Corliss of Time Magazine said it was one of the four or five best films in the entire festival. I like it very much as well (...) It’s funny, sad, a character study, a fable . . . and a very good movie". - <b>Mick LaSalle</b> @ <a href="http://blog.sfgate.com/mlasalle/2013/09/03/biennale-college-and-yuri-esposito/" target="_blank">SFGate.com</a></div>
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"That quite fragile balance between comedy and drama lead to a true sentimental and somehow bittersweet film. The linear narration, despite the initial idea, doesn’t boast of creativity but it is worked nicely and fulfills all the initial expectations for a charming film". - <a href="http://24fpsverite.com/review-en/yuri-esposito-2013/" target="_blank">24 fois la vérité par seconde24 </a></div>
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<br />
[<a href="http://biennalecollege.ogilvy.it/en/yuri-esposito-reviews-and-articles/" target="_blank">read more reviews and articles</a> - via Biennale College]<br />
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<div style="text-align: left;">
Listen to my original tracks composed for "Yuri Esposito":<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F10618757" width="100%"></iframe>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-59910653606590176602013-05-26T21:35:00.000+02:002016-01-20T14:53:38.936+01:00Out now: Kyma Ambiences - vol.1 [USO003]<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/64553670?portrait=0" webkitallowfullscreen="" width="500"></iframe>
<i></i><b> </b><br />
<div style="text-align: justify;">
<b>Kyma Ambiences </b><b>[USO003]</b>
is the third sound effects bundle created by Matteo Milani (U.S.O.
Project). The generation of these "Artificial Reality Ambiences" starts
entirely in <a href="http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome" target="_blank">Symbolic Sound Kyma</a> - during the development of <a href="http://projectgenesismovie.com/">projectgenesismovie.com</a>
- from the processing of white and pink noise by filtering - in the
time/spectral domains - and convolving these sources with custom FM,
additive, formant and granular synthesis.</div>
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<br /></div>
<div style="text-align: justify;">
<div style="text-align: justify;">
The
composition’s resource of sound material is drawn solely from these
processed stochastic sound elements: coloured noise is a raw material
already full of life and can be sculpted into a variety of temporal
forms, movements and textures. The interaction with Kyma was typical of a
composer who explored a device’s potential for sound transformation
like a musical instrument. The goal was to obtain an organic and
acoustic quality using only a restricted sound source, in order to evoke
real spatial characteristics attached to each invented sound.</div>
<br />
The sound effects collection is published @ 96kHz (native), plus a budget version @ 48kHz (resampled). <b>“Kyma Ambiences vol.1”</b> is not only available in these two packages, but also as dual-layer separated <b>“Elements”</b>,
suitable for recombinant stratification, varispeed and spatial
positioning in the surround field (for a total of 112 files @ 96kHz).<br />
<br />
<b>Here is what you get in “Kyma Ambiences vol.1”:</b><br />
<ul>
<li>Stereo Interleaved Files (56 items, duration 120s each)</li>
<li>Comma-separated values file (.csv)</li>
<li>Excel spreadsheet (.xls)</li>
<li>License Agreement (.pdf)</li>
<li>Artwork (.png)</li>
</ul>
</div>
<br />
<b>Three flavours: </b><br />
<br />
<b>48 kHz (small): $ 49 - via PayPal </b><br />
<br />
Audio Format: Broadcast Wave Files (.wav)<br />
Bit Depth: 24-bit Size: 1.97 GB<br />
Download size is 1.50 GB (compressed .rar archive)<br />
<br />
<b>96 kHz (medium): $ 79 - via PayPal </b><br />
<br />
Audio Format: Broadcast Wave Files (.wav)<br />
Bit Depth: 24-bit Size: 3.93 GB<br />
Download size is 2.78 GB (compressed .rar archive)<br />
<br />
<b>Elements (large): $ 99 - via PayPal </b><br />
<br />
Audio Format: Broadcast Wave Files (.wav)<br />
Sample Rate: 96 kHz<br />
Bit Depth: 24-bit Size: 7.86 GB<br />
Download size is 4.99 GB (compressed .rar archive)<br />
<br />
Available on <a href="http://www.unidentifiedsoundobject.com/" target="_blank">www.unidentifiedsoundobject.com</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-65944671485525893152013-05-13T12:54:00.003+02:002013-05-13T12:56:20.385+02:00An interview with Mel Wesson<div style="text-align: justify;">
<i>by Matteo Milani - U.S.O. Project, 2013 </i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<a href="http://en.wikipedia.org/wiki/Mel_Wesson" target="_blank">Mel Wesson</a> received a multi platinum award for his contributions to The Verve's 'Urban Hymns' album and the anthemic single 'Bitter Sweet Symphony'. It was this album Hans Zimmer was listening to in the New Year of 2000 when he spotted Mel's credit and invited him to work on the score for Mission Impossible 2.<br />
Since that time Mel has created his own niche within the movie score genre as '<a href="http://en.wikipedia.org/wiki/Ambient_music_design" target="_blank">Ambient Music Designer</a>'. This area of atmospheric sound has weaved its way through many of Hans' scores including Ridley Scott's 'Hannibal' and 'Black Hawk Down', Christopher Nolan's 'Batman' trilogy and most recently Ron Howard's 'Rush', amongst the others. </div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyx8LvCmn13xwg6Qv9ULwEUKvNSPbiXo0SF4CfCv2WNx1pq-69frUvFFpG-Ypv7kU1vfy790UUXNvYwd_jcRNPbJsWDD1vPKHkBFV-qJ_OS5MnwQ1yW1WwgZa6V960s8d6XBj97w/s1600/MelGhent2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyx8LvCmn13xwg6Qv9ULwEUKvNSPbiXo0SF4CfCv2WNx1pq-69frUvFFpG-Ypv7kU1vfy790UUXNvYwd_jcRNPbJsWDD1vPKHkBFV-qJ_OS5MnwQ1yW1WwgZa6V960s8d6XBj97w/s400/MelGhent2.JPG" width="273" /></a></div>
<div style="text-align: center;">
<i>[photo courtesy of Mel Wesson]</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>Matteo Milani: Mel, how you got involved in working on motion pictures?</b><br />
<br />
<b>Mel Wesson:</b> Aside from a few piano lessons as a child I had no real formal music training, I learnt most about my approach to music at Art College... I learn't about keeping an open mind, freedom of expression, things that have stayed with me all my life. I spent my youth playing with bands, touring and recording. I started getting offers of session work, one thing led to another... I'd known <b>Hans Zimmer</b> since my late teens and he got me involved in a few projects with his mentor <a href="http://www.imdb.com/name/nm0004368/" target="_blank">Stanley Myers</a>, as well as some of his own early musical projects. Hans and I drifted apart for a few years when he moved to LA and I got more involved in working with recording artists but eventually Hans called out of the blue and asked me to get involved in the score of 'Mission Impossible 2'. That was the start of a new chapter for me.</div>
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<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>MM: Would you like to describe your collaboration between composers James Newton Howard and Hans Zimmer?</b><br />
<br />
<b>MW:</b>
They're both very different, Hans prefers everything to be in a
constant state of flux, whereas James has a more structured approach. I
seem to have an approach that works with them both, I'm pretty flexible
but I do like make progress through a picture so often I'll leap ahead
of wherever they are in the in movie and then feed ideas back at them.
James often likes to arrive at a cue and find something in place, it
might be a soundscape consisting of many cues, or perhaps a rhythmic
idea, maybe even a map. Hans tends to assimilate my ideas in his own
way, a lot of time things come together at the mix as opposed to the
more traditional point of composition, that works for him as he never
considers a cue finished until it's in the theatre!</div>
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</div>
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</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>MM: Please explain your role as 'Ambient Music Designer' when working with the composer and other members of the sound editorial.</b><br />
<br />
<b>MW:</b> Well, I really should know the answer to that one but I'm still working on it! The <b>AMD</b> role came about through a few conversations with Hans on 'Hannibal'. People read things into that title, but it's really just a phrase we cooked up to give me a credit on that movie and it stuck! The important thing is I just didn't want to go down the orchestral route (despite what people may think I DO write conventional music occasionally! ) and Hans gave me the opportunity to experiment with sound in a way that crosses the boundaries of music and sound design. A lot of my work is to do with atmospheres, creating a presence, emotions, sometimes through rhythm too. I create bespoke sounds but that's only a part of what I do. I use those sounds to work with picture, that's the real challenge here. The word 'Ambient' can cover a lot of ground in the same way the word 'Orchestral' covers an amount of options... Back to the question, occasionally a composer will have something specific in mind, but a lot of the time I'm left to my own devices and we see what occurs... I enjoy the freedom, it would be rather pointless for everybody if I didn't play a creative role.<br />
<b></b></div>
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<b></b></div>
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<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>MM: How do you deal with the everlasting collision between sound effect and music?</b><br />
<br />
<b>MW:</b> It's all noise... some noises work together, some don't. I try not to distinguish too much between violins and helicopters, everything has it's place... On Ron Howard's 'Rush' for example there's the most amazing sounding race cars... they're the sound of the movie, the heart and soul the story, yet they'll carve through any music... which is fine by me, I'd far sooner listen to them then an orchestra! Most recently I've been playing with the band 'Node', with producers Flood and Ed Buller, plus electronic artist Dave Bessell. What we do is all about sound, it's all live too, no overdubs, no mix process. The music we're creating crosses a lot of boundaries, there really is no conflict between sound and music in that environment and no one would draw a line between what we do and music. For me it's the ideal band to play with, I'm very excited about our album.<b> </b></div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitYlZDNrT2q41SNuuuWd4YNNw8c4NdHwDrvlJ7M_lagzsjNuVTNXC1nIFtHAtNVgWVTR4jizb6F2uhD2HqIGbwk1xYR4hEyjsKtXN8HtRgFw1GWAdAfVVT00xs5Okn90N6Rrg05w/s1600/MW-Swat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitYlZDNrT2q41SNuuuWd4YNNw8c4NdHwDrvlJ7M_lagzsjNuVTNXC1nIFtHAtNVgWVTR4jizb6F2uhD2HqIGbwk1xYR4hEyjsKtXN8HtRgFw1GWAdAfVVT00xs5Okn90N6Rrg05w/s400/MW-Swat.jpg" width="211" /></a></div>
<div style="text-align: center;">
<i>[photo courtesy of Mel Wesson]</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>MM: The
sounds you've done for 'Inception: the App' are these totally
synthesised or is there any usage of reprocessed actual sounds?</b></div>
<div style="text-align: justify;">
<b><br />MW: </b>Nearly all of my work on Inception, the score and therefore the <a href="http://inceptiontheapp.com/" target="_blank">App</a> was
based of reprocessed sounds, mostly from one sample session, but you'd
struggle to recognise the source of the sounds in about 90% of the case.
It was a session of natural instruments resonating through a piano
soundboard, so we had an amazing amount of harmonics to work with plus
the room itself. Then I took my ideas back to <a href="http://www.airstudios.com/" target="_blank">Air Lyndhurst</a> and replayed
them into the hall and re-recorded them again... we got some amazing
material of out that session. There was some live recording in the app
too.... like rain on my studio window that became part of the
environment. There's been a <b>Dark Knight App</b> since that one too, the same
team, but based more around a more interactive way of playing with the
score in the real world.<b><br /></b></div>
<div style="text-align: justify;">
<b><b></b></b></div>
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<b><b></b></b></div>
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<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b><b>MM: For 'Inception: the Soundscape',
you’re credited as composer. It’s your first art installation work. Do
you have any additional anecdotes to share?</b><br /><br /><b>MW:</b> </b><a href="http://www.melwesson.com/otherprojects/detail.php?id=inceptionsoundscape" target="_blank">That</a>
was played on the walk between Grauman's Chinese Theatre in Hollywood,
(the US Inception Premiere) and the after show venue where we played a
live concert. It was a walkway constructed a few hundred metres long and
a really interesting project. I used a lot of ambience from the film,
plus some sounds I got from sound designer <a href="http://www.imdb.com/name/nm0455185/" target="_blank">Richard King</a>, things like the
train coming down the centre of the road, waves on the beach etc. It
was a lot of fun, I'd love to do more... but really more long term
exhibition based... and yes, I'm open to offers! Venice Biennale anyone?<b> </b></div>
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<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>MM: Tell us about the software and hardware </b><b><b>production </b>tools in your arsenal...</b><br />
<br />
<b>MW:</b>
My studio's based around Logic Pro, for now at least.... I love working
in Logic but it's way overdue an update so I'm looking at alternatives.
So... within the computer world I have a few favourite toys, MetaSynth
has served me well in the past, Reaktor is probably still my favourite
plugin, it's just so forward thinking, flexible, origional and most
importantly it sounds good... that's everything you want from a plugin.
I use a lot of sounds manipulation devices, things from
Izotope, Audio Damage, etc. I like the Waldorf plugins too, the Wave 3
is very good, but the most exciting thing I've seen in a long time is
the PPG Wave Generator, it's an iPad app, again it's sounds great and
it's innovative. I sometimes process sounds through my modular or the
Synthi but I don't use a lot of outboard FX, although I've started using
a Kemper Profiling Amp. Obviously that's designed with guitars in mind
but there's no rules. I use a lot of vintage synths too, partly because
nothing sounds as good and partly because the interface makes you think
differently. I'm fortunate to have a large analog modular system that's
part Moog 3C, part PPG300, other 'Go to' synths include a Synthi A, PPG
Wave 2. It's not just about the sound though, it's how these devices
make you think. I just bought a guitar too, I don't really play, but
again I come up with things I'd never think of on a keyboard or
computer. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrUxl5RWVMlvAhz1grTgfLIwr85KqmkciK282SzAPDyOR9chyphenhyphenhOYHvnasYBaRpWq-GrhA0eywjPdMeQInrjw__-oQEaWfUuIa5Su40HcgfEpTT8iK9p3xXm8uKPKNLM5x6g6j1Bw/s1600/MelGhent1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrUxl5RWVMlvAhz1grTgfLIwr85KqmkciK282SzAPDyOR9chyphenhyphenhOYHvnasYBaRpWq-GrhA0eywjPdMeQInrjw__-oQEaWfUuIa5Su40HcgfEpTT8iK9p3xXm8uKPKNLM5x6g6j1Bw/s400/MelGhent1.jpg" width="303" /></a></div>
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<i>[photo courtesy of Mel Wesson]</i></div>
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<b>MM: What are your preferred titles you worked on and what kind of sounds you designed?</b><br />
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<b>MW:</b> Well all my sounds are organised within folders so there's the 'BatFlaps', for Batman Trilogy, there was 'Rage' for the Joker, 'Ice Brass' for Inception. 'Gotham Metal', "BanePane'... it's a long list. Of course we had 'MetaPiggies' on Hannibal! <br />
<b><br /><br />MM: Can you reveal us a 'making of' of a very special sound effect(s) or a sound sequence </b><b><b>for 'Green Lantern'</b>?</b><br />
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<b>MW:</b> Ah Green Lantern... we had a vast library of sounds, unusually for me all of my work was created with synthesisers, We had there's the Green Energy sounds for the good guys and the sound of Yellow Light which was the sound of fear... We did record the extraordinary voice of Grant Gershon and I processed his voice to create various sounds and textures. We had so much fun on that movie, although it was pretty much universally slated which was a shame as the team was great as was the experience. </div>
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<b>MM: How do you deliver your sound elements to the mixing stage?</b><br />
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<b>MW:</b> I master everything in quad, but really all I do is give options, the real work in surround takes place on the dubstage. They have far more to deal with in terms of effects and dialog beyond the music and that team are experts in bringing it all together. My work is all part of the score, it's a common misunderstanding that I deliver stand alone sounds but for me the sounds are only a part of the process. Once I have my pallette I start to use those sounds to compose with, so the work is delivered as mixes and stems, the same as any other cue would be. That said Chris Nolan is very keen to have my material as wide as possible as what we called 'Melements', he likes to swap things around on the dub and experiment. For me it's always an exciting time and I love the way the process is constantly evolving.<br />
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<b>MM: What projects are you currently working on?</b><br />
<br />
<b>MW:</b> Well.... I'm a rarity in this industry in that I actively dislike have more than one project ongoing at the same time... in an ideal world at least! This year got off to a crazy start. I've been working a couple of old friends, <a href="http://www.imdb.com/name/nm0007129/" target="_blank">Trevor Morris</a> on '<a href="http://www.imdb.com/title/tt2302755/" target="_blank">Olympus Has Fallen</a>' and <a href="http://www.imdb.com/name/nm1014697/" target="_blank">Ramin Djwadi</a> on '<a href="http://www.imdb.com/title/tt1663662/" target="_blank">Pacific Rim</a>', these have been more electronic arrangements and ideas as opposed to ambient work. I've also worked on '<a href="http://www.imdb.com/title/tt0359950/" target="_blank">The Secret Life of Walter Mitty</a>' with <a href="http://www.imdb.com/name/nm0788640/" target="_blank">Teddy Shapiro</a>, plus a few bits for <a href="http://www.imdb.com/name/nm2273444/" target="_blank">Henry Jackman</a> on '<a href="http://www.imdb.com/title/tt1535109/" target="_blank">Captain Phillips</a>' and <a href="http://www.imdb.com/name/nm2092016/" target="_blank">Chris Bacon</a>'s score for '<a href="http://www.imdb.com/title/tt2188671/" target="_blank">Bates Motel</a>'. The important thing is at times like that everybody respects everyone else's projects and space... it's not like I have a team around me, I can't and won't delegate which makes things diffiicult at times. A nice Margaux helps though...<br />
<br />
[<a href="http://melwesson.com/" target="_blank">melwesson.com</a>]<br />
[<a href="http://www.imdb.com/name/nm0921888/" target="_blank">Mel Wesson - IMDb</a>] </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-6942091221784155382013-02-17T16:30:00.000+01:002016-03-26T21:48:00.033+01:00Project Genesis, a sound design story<i>by Matteo Milani</i><br />
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What if the history books have it wrong? What if the tool is the master of its maker? Did Mac create Man? <b>Project Genesis</b>, a short film by <a href="http://www.alessiofava.com/" target="_blank">Alessio Fava</a> about a world populated only by old Apple computers, has arrived! <a href="http://www.cultofmac.com/213237/project-genesis-a-new-tale-of-the-beginning-international-film-premiere/" target="_blank">Cult of Mac</a> presented the International Premiere of the short film. </div>
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<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/58471938" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/58471938">Project Genesis // shortfilm sub ita</a> from <a href="http://vimeo.com/projectgenesis">project genesis</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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To create a world populated by computer, it was essential to define the role of sound during the process of writing the script, to support the story. To make the actors credible and alive - like the old <i>Apple Macintosh Classic</i> and <i>Lisa</i> - each one with its own details, it was a thrilling creative work. During the first meetings with director Alessio Fava we looked for the "voice" of each character - of course with a west-coast American accent. For example - thanks to my friend Ann Kroeber @ <a href="http://soundmountain.com/" target="_blank">soundmountain.com</a> - we chose actor <a href="http://michaelnavarra.com/" target="_blank">Michael Navarra</a> for the role of the CEO "ACME I", not just for his timbre, but especially for his outstanding acting skills. Since all computers are equipped only with an eye on their front screen - animated by the team of artists who supervised the visual effects - we needed incisive voices, with a lot of inflections, but somehow also enigmatic. A graphic equalizer which moves in synchronization with the voice increases the intensity of the expressions of the characters: in this case the production method was identical to that of an animated film, where the dialog is recorded before the “lip-sync” animation process.</div>
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By contrast, I have treated the original dialog without digital tools, instead using the technique of "worldizing" broadcasting FM sentences of each actor to old radio receivers, simulating the sound as if it came from the chassis of the computer, more precisely from the speaker located inside the Mac. </div>
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The goal has always been - according to Alessio - to get results in a vintage and analog "flavor", anything but futuristic. To invent the sound of the propulsion system that allows these intelligent machines to move on the location of the short film, I used an electric razor as a main source, which with its continuous vibration resonates in the cavity of a metal lid, picked up by a contact microphone to have a more defined and organic timbre without interference from the surrounding environment (it’s an homage to Ben Burtt, who did it previously for “Star Wars: Episode I The Phantom Menace” to create the sound of the hovering battle tanks). The result is a "concert" of different signals, which modulate at different pitches, placed in different spatial positions. <a href="http://kyma.symbolicsound.com/" target="_blank">Kyma</a> also was used to generate ambiences and backgrounds throughout the film. To make the presence of each character more vibrant - each one animated with the “stop motion” technique - and further emphasize every action on the screen, I added not only individual mechanical noises to emulate the chronological age of each computer, but also noises picked up the activity of a failing hard drive. Working alongside composers Giovanni Dettori and Lorenzo Dal Ri, we have achieved an excellent balance between dialogue, sound effects and musical contributions to an immersive sound continuum, in both 5.1 surround and stereo format. </div>
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<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/49467144" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/49467144">Project Genesis // Creating voices</a> from <a href="http://vimeo.com/projectgenesis">project genesis</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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[<a href="http://facebook.com/followgenesis">facebook.com/followgenesis</a>] Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-12924389951160954822012-12-14T10:28:00.000+01:002012-12-14T10:28:18.293+01:00Frank Kruse on "Cloud Atlas"<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/UmJVFOKaGUY" width="505"></iframe>
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Here's some info about the work of <a href="http://www.imdb.com/name/nm0006838/" target="_blank">Frank Kruse</a>, supervising sound designer on <a href="http://www.imdb.com/title/tt1371111/" target="_blank">Cloud Atlas</a>, in his own words [via <a href="http://duc.avid.com/showthread.php?t=331203" target="_blank">duc.avid.com</a>].<br />
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"I started on CA in November 2011 about 6 weeks before the ending of the
principal shoot. Tom Tykwer hates to work with temp sound effects and it
really made sense to start early on this film because we had a pretty
early first temp mix to cater about 10 weeks after the last day of
shooting which was quite tough for such a long film.</div>
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So I could spend some very valuable time creating some base sound fx and
B/Gs for the different stories. Tom usually has most of the music done
before the shoot starts so on his films we almost never encounter
temp-music. So we can closely work with the composer team. I physically
moved my studio into the same space as the cutting rooms and the VFX
production dpt. which also enabled very close work with VFX updates and
the editor Alex Berner.</div>
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I provided effects stems to Alex who would then cut with those in the
AVID so the directors could make notes while cutting the picture and
also adjust edits to make room for some sound ideas. I spread the info
the rest of the sound crew from there.</div>
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Quite a few things wouldn't have been in the film hadn't we had this
close connection during the editing both in terms of the picture cut and
sounds.</div>
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This gives the sound team the chance to go into wrong directions and try
things out early on instead of piling up a lot of redundant tracks for
the mix and build the sound track in the theater.</div>
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We talked about transitions and that we wanted the film to feel like one
story and not 6 episodes. tied together so quite some time was spent to
create seamless transitions that should never be on the nose. For
example there are some cool yet subtile transitions from the bridge
where Zachry and Meronym hide from the Koona warriors ("bridge are
broken hide below") the horse that gallops away turns into the rhythm of
the rails of the train with Cavendish and then when he sees himself
sitting in the opposite seat in the past the trans "morphs" from a
modern train to a steam train and back. So horse to train to steam-train
and back. I think most people won't recognize it at first "glance" but
we thought these kind of transitions were the ones that would help glue
the story together. Markus Stemler the second sound designer came up
with some great things like that.</div>
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Many transitions are at the edge between music and effects. We tried to
blur the differences a bit from the "waking up" of Papa Song's
restaurant to the flare gun when Zachry and Meronym discover the huge
Sonmi-statue. All those things we tried to treat as half way between
musical and sound effects.</div>
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The scene where Chang shows Sonmi the safe-house with the animated
cherry blossoms on the walls for example: The ambience there is made
with quite musical drones and some percussive sound effects played in
asian scales. I found S-Layer for Reaktor really useful on CA for these
things.</div>
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The close proximity to the cutting room (literally next door) enabled us
to keep a very close connection to the changes in the picture cut.</div>
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One other thing we discussed with the directors was the thing with the
gender changing actors in film. In the beginning they were concerned
that the men playing female characters would show their true identity
through their voice so I went on set to capture some test recordings
with Weaving and Whishaw and then experiment with some voice treatments
to disguise their voice or make them more female. So I had a
channel-strip prepped to treat these voices.</div>
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We tracklayed all the FX in a session prepped with EQs and Reverbs so it
was pretty easy to output a stem with reverbs etc. for the AVID and the
temp mixes were more or less based on these sessions which Matthias
Lempert and Lars Ginzel mainly mixed in the box.</div>
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Some things for the tech-interested: We recorded a prototype electric
car that a big German car mfg kindly let us use that served as the base
sound for the skiff (the floating "motorcycles"). We also recorded lots
of magnetic field effects with guitar pickups that foley supervisor
Hanse Warns built. A device we called the iHum was used to capture
fields of power tools, TFT screens etc. etc. </div>
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The main sound for the busted delivery truck that Chang uses to free
Sonmi from the prison is actually the electric field of our studio's
vacuum cleaner with further treatment.</div>
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Some of the gunship elements were created with iPad based synths that I
liked to use for the great touch interface that I could then modulate to
picture."</div>
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[<a href="http://www.wildtrax.eu/article/cloud-atlas-reactions" target="_blank">wildtrax.eu</a>] <br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-22375446799404689782012-11-01T16:46:00.001+01:002012-11-30T09:09:13.294+01:00Sonic Screens 2012 - full lineup<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.blogger.com/blogger.g?blogID=30387479" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLW1spR5nFnR_qkzX-rmXPk3TZpEsxfgYPiF5ZgJFiFKoJ8HwuMSaygci3DY0ZL0ajLf-VwY-V3r_i8-ZtE5q3mBOftSKyx7wNzQawMMpFkGOxZ6bw0oKoASA-8ZGgXR-1s4E47w/s1600/IMG_0256.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLW1spR5nFnR_qkzX-rmXPk3TZpEsxfgYPiF5ZgJFiFKoJ8HwuMSaygci3DY0ZL0ajLf-VwY-V3r_i8-ZtE5q3mBOftSKyx7wNzQawMMpFkGOxZ6bw0oKoASA-8ZGgXR-1s4E47w/s1600/IMG_0256.jpg" style="cursor: move;" width="400" /> </a></div>
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<span style="font-size: x-large;"><b>Electroacoustic music concert </b></span><br />
<i>an event by U.S.O. Project (Matteo Milani, Federico Placidi) in collaboration with <a href="http://www.on-o.org/news.php" target="_blank">O’</a> and <a href="http://www.dieschachtel.com/" target="_blank">Die Schachtel </a></i><br />
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<span style="font-size: large;"><b>Premieres: </b></span><br />
<a href="http://xoomer.virgilio.it/adiscipi/" target="_blank">Agostino Di Scipio</a><i><br />"Two Sound Pieces with Repertoire String Music"<br />for any number of bowed string instruments and live electronics</i><br />
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<a href="http://www.fonurgia.unito.it/wp/" target="_blank">Andrea Valle</a><i><br />"Dispacci dal fronte interno"<br />for Violin, Cello, spatialized electronics and printers</i><br />
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Federico Placidi<i><br />"TimeCapsule"<br />for Violin, Cello and live electronics</i><br />
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<span style="font-size: large;"><b>Performed by: </b></span><br />
<a href="http://www.eduazadory.net/cms/?lang=en" target="_blank">Èdua Amarilla Zádory </a>- Violin<br />
<a href="http://www.anatopalovic.com/" target="_blank">Ana Topalovic</a> - Violoncello<br />
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<span style="font-size: large;"><b>Sound Direction:</b> </span><br />
Matteo Milani<br />
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<span style="font-size: large;"><b>Live Sets: </b></span><br />
<a href="http://soundcloud.com/aka-trouble" target="_blank">Thoranna Bjornsdottir aka Trouble</a><br />
<a href="http://www.massimilianoviel.net/" target="_blank">Massimiliano Viel</a><br />
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O’ | via pastrengo 12 Milan | Italy<br />
Saturday, December 1st - from 8:00 to 22:30 p.m. <br />
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Door 5 euroUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-65713005023504688462012-10-13T23:10:00.000+02:002012-10-15T23:22:13.873+02:00Randy Thom @ VIEW Conference 2011<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih1HiZnkRLrYfyduinsot62j53Q42zfNiwQT9gJdPj6T62reD7lyiGYopltuO9VCLuoB1JLPAf1K6arw92NiLsVT-O31mn0HG_dMkiTO26d6gyVD4z9Hew28yUHqAs8V6PJHSNzw/s1600/RandyThom_WorkshopSoundDesign.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih1HiZnkRLrYfyduinsot62j53Q42zfNiwQT9gJdPj6T62reD7lyiGYopltuO9VCLuoB1JLPAf1K6arw92NiLsVT-O31mn0HG_dMkiTO26d6gyVD4z9Hew28yUHqAs8V6PJHSNzw/s1600/RandyThom_WorkshopSoundDesign.jpg" width="213" /></a> </div>
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On Friday, Oct. 28, 2011 VIEW Conference hosted a Master Class with <a href="http://www.skysound.com/bio/randy_thom.html" target="_blank">Randy Thom, Director of Sound Design at Skywalker Sound</a>. He is a firm believer that the sooner the sound designer is involved in the pre-production, the better the story can be told. Randy illustrated how sound can shape a film, talking about how doors can be opened to sound. He also shared clips from movies where this kind of early collaboration has happened. Here's an excerpt of his talk during the workshop.</div>
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<span style="font-size: large;"><b>Sound as a full collaborator to make better films </b></span></div>
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<i><b>Alan Splet</b>, <b>Walter Murch</b> and <b>Ben Burtt</b> where the three people who lived within about 20 miles each other near San Francisco who really brought a new revolution into American film sound during 70s. I was lucky enough to work with all three of them and “steal” some of their best ideas.
One of the first things that you learn as a sound designer is not think to literally about sound, so one aspect of training your ear is to interpret sound in emotional terms. Subjectivity in filmmaking is a playground for sound: when the audience understand that they don’t figure out consciously, but what they seeing and hearing is being filtered through a character’s or filmmaker’s point of view in a subjective way. Very often working on a sequence for a film what you want to do is think of how you want the sound to make people feel and you analyze what it is about that sound makes you feel certain way and you go looking for sounds or raw material that have those qualities. </i><br />
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<span style="font-size: large;"><b>Apocalypse Now</b></span></div>
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<i>If there was ever a film where sound and image were treated more or less equally and allow to affect each other certainly is Apocalypse now. The first sound that you hear in the film - before any music or any dialogue - is a very odd, electronically synthesized helicopter sound - the <a href="http://vimeo.com/6784121" target="_blank">Ghost Helicopter</a>. Captain <a href="https://en.wikipedia.org/wiki/Benjamin_L._Willard" target="_blank">Willard</a> is hearing the memory of the helicopter that he has. What you’re listening to is this guy’s brain. He’s remembering things, he’s hallucinating, he’s dreaming, he’s drunk and under the influence of drugs, he’s listening to his brain operate.
The opening sequence is the launching point for all story, immediately the audience is put in a frame of mind that anything can happen, this is going to be a very strange ride.
As he stands at the window looking outside he might heard a little fly buzzing: it took me a week to record that fly (laugh). At first he hears - and we hear - the sound of Saigon outside (car horns, Vespas, police whistles). Those sounds morph into the sound of the jungle: each one of those individual city sounds turns into specific jungle sound. Physically for the all sequence he’s still in his hotel room, but in his mind he moves back into the jungle.</i></div>
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<span style="font-size: large;"><b>Once upon a time in the West </b></span></div>
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<i><b>Sergio Leone</b> decided early on that they will record all the music for this movie before they started shooting the film and they used the music during the shooting to help the actors and essentially to inform how the film is going to be shot. They were struggling how to make music and sound working together before shooting the sequence.<b> Ennio Morricone</b>, the composer, happened to go to a <b>musique concrete</b> concert - a genre involved using real world sounds, rather than traditional musical instruments - by a guy who played a latter, banging and scraping on it. Then he called Leone and said: “There’s should be no conventional music at all in the beginning of the film: instead you perhaps should shoot around the sound effects.”
Leone went shooting the sequence thinking about how the sound of this little train station were going to work in the storytelling.</i></div>
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<i>I think that’s a tragedy that very few studios these days will have the guts to allow a filmmaker to do a sequence like that. They say: “People are going to be bored, we have to fill up with uptempo music through the all thing”. Some budget filmmaking these days is “fear based”, it’s not an attempt to do something new, interesting and unusual, to open people imagination. It’s an attempt to avoid boring people, which is never a good motivation in art.</i></div>
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<i>One of the things that these two scenes have in common is a <b>very strong sense of point of view</b>. Camera angle are very important to sound, believe it or not. The kind of shot, where an actor looking at nothing in particular, is another open door for creative, subjective sound, because the audience knows intuitively that they’re going inside the character’s head. It’s an open door for sound designers to put almost any kind of sound that we want.
Having some ambiguity or mystery about the visual image makes it easier for me to do something useful with the sound. Extreme close-ups get across the idea of subjectivity. Long duration shot opens the door for sound, too. The character’s closing eyes is also an opportunity for sound to do something interesting (imaging, remembering...). The most difficult kind of shot is a brightly-lit medium shot, because you’re not focusing on anything in particular and there’s no mystery there, there’s nothing that invites the ear to help figure out what’s going on.</i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<i>Another element they’ve in common is <b>sparse dialogue</b>. I’m certainly not against dialogue in film - dialogue will always has a role. Dialogue and sound design generally don’t go well together, because there’s something about the human voice that the human ear want to attempt to.</i><br />
<i>If someone is talking - no matter how hard a director ask me to try to push sound effects during that sequence - it will distract you from the dialogue, which the audience is trying to hear. The way to solve that problem is to design the sequence in a way that there are moments for the dialogue and moments for sound effects. A compromised has to be made, you can’t as a filmmaker try to fire all your bullets at the same time, it’s not going to work. One category of sound tends to dominate at a time - it’s dialogue, it’s music or it’s sound effects.
Another bad tendency in contemporary filmmaking is to try to set it up so that all three dominates simultaneously, it will never works. Lazy filmmakers will just call the composer: “make some very strange music telling the audience that this is a very strange place”. As a sound designer you try to do things and variations in the same way a music composer, to use sound in pure musical way: tempo, harmony and rhythm to evoke emotion. Think about what elements in a set could generate the sound useful for the storytelling: this will be more powerful at the end, it’s not a decoration, that’s a very organic way of telling the audience “this is a very strange place”.</i></div>
<div style="text-align: justify;">
<i></i><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0mR55ntAplh4BcSzyTqYJWtI_4ud-GFuQ3jBXMgdBLUdoponEz9xtccUESLXYlo8_CkUq66yUL3L5mfHW4987vbpfvnrbYL6ME3qi0HYL4DMDBI3q45zUIi2mtZLBQCTL2DLCzw/s1600/NIK_7399.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0mR55ntAplh4BcSzyTqYJWtI_4ud-GFuQ3jBXMgdBLUdoponEz9xtccUESLXYlo8_CkUq66yUL3L5mfHW4987vbpfvnrbYL6ME3qi0HYL4DMDBI3q45zUIi2mtZLBQCTL2DLCzw/s1600/NIK_7399.jpg" width="400" /></a></div>
<i></i><br />
<i><br /></i>
<span style="font-size: large;"><b>Sound-friendly scripts</b></span><i><br /></i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<i>Most writers are obsessed with words, and they tend to think words should dominate every sequence, with wall-to-wall dialogue.</i></div>
<div style="text-align: justify;">
<i>Filmmakers simply don’t think about how to use sound in that way before start shooting the sequence. Think about what the characters hear. Think about how the things they hear affects them and how character changes over time. I often found people who come from visual/light background - which David Lynch did - have very interesting sound ideas. He demands you to be creative all the time.</i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<i>Another thing I told to directors is: during rehearsal in a live action scene, play with your actors in terms to find things in the space that can make sound that will be useful to the story.</i></div>
<div style="text-align: justify;">
<i>As a sound designer, try to imagine ways that sound could playing in an interesting but organic, truthful way to help the storytelling in the sequence. Try to think to other powerful sounds that the audience doesn’t expect. Part of your job as a sound person - I think - is to help the director make the best film possible. If you have interesting ideas - and you should have them - about the way of film shooting that allow you to do something you couldn’t do otherwise, of course you should talk about it.</i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<span style="font-size: large;"><b>Sound for Animation </b></span></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<i>Thanks to big aesthetic jumps in animation, more contemporary animation directors want movies should sound like a live-action movie. For “How to Train Your Dragon” I come up very early on with some speculative vocalizations for the dragons that will help the animators to animate to those elements. I tried to use real-world animal sounds - tiger growls, elephant, whales, goats, camel, dogs - to cover a wide range of emotions, allowing sound to influence the animation. The challenge is how to make the transition from one to another, which needs a lot of work and experimentation with pitch-changing techniques.</i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/10539765?color=6da683" webkitallowfullscreen="webkitallowfullscreen" width="505"></iframe>
<br />
<div style="text-align: justify;">
<br />
<br />
<span style="font-size: large;"><b>Sound Mixing </b></span></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div style="text-align: justify;">
<i>Mix is about to choose right or most powerful sound in any given moment. In a moment when you need to hear the dialogue you try to artfully lower or eliminate sets of other sounds that are competing with the dialogue at that moment. Space can make sounds useful to the story: there are a lot of others tricks like moving the sound effects and the music into the side loudspeakers and have the voices mostly come out from the center speaker, which make a little bit easier to understand the lines of dialogue. Sound is more powerful if comes from a place we doesn't expect.
You need to think of sound in terms of spectrum and frequencies and tailor those for a given moment.</i><br />
<br />
<br />
<b>Related Post:</b><br />
<ul>
<li><a href="http://usoproject.blogspot.it/2011/02/creating-film-sound-interview-with.html" target="_blank">Creating Film Sound: an interview with Richard Beggs, pt.1</a></li>
</ul>
</div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-6579853131322028262012-10-10T22:29:00.000+02:002012-10-10T22:29:05.714+02:00Augmented Listening <i>By <a href="http://www.linkedin.com/pub/tue-haste-andersen/2/159/924" target="_blank">Tue Haste Andersen</a> - October 9, 2012</i><br />
<br />
reBlogged from: <a href="http://designmind.frogdesign.com/blog/augmented-listening.html" target="_blank">design mind</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo3RGLlya185lMB14Iaz1we1_HBio-BReSpjy9OoORtkNXuIJlSlSLdt0OhtvtIO_aXt3buv6Vyboe9yVSjoqbhKhTgyb8VsdCz7fBdTSXepd2O_N6MkCJGSCPa4lpeqkktl2bKw/s1600/Screenshot+2012.09.09+20.51.22.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo3RGLlya185lMB14Iaz1we1_HBio-BReSpjy9OoORtkNXuIJlSlSLdt0OhtvtIO_aXt3buv6Vyboe9yVSjoqbhKhTgyb8VsdCz7fBdTSXepd2O_N6MkCJGSCPa4lpeqkktl2bKw/s400/Screenshot+2012.09.09+20.51.22.png" width="400" /></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Stop for a second and listen. Close your eyes, use your ears, and just listen.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Whether you are in a quiet office environment or out on a busy
street, you'll be amazed by how many sounds there are around you. Most
of us do not pay attention to the ambient sounds that surround us. Our
brains filter them out and we don't listen. Yet the sounds we miss can
be very enjoyable.</div>
<br />
<b>Designed Sounds</b><br />
<br />
<div style="text-align: justify;">
Today, what we hear in our daily lives is often designed sound- music
and sound effects carefully crafted for games, devices, and products.
For example, mission-critical products, such as heart rate monitors used
during medical surgery or a plane’s flight deck controls, use
distinctive alarming sounds that are designed to be easy to perceive and
raise a sense of urgency or danger.</div>
<div style="text-align: justify;">
In interfaces for everyday tasks, sound is used to create engaging
and beautiful experiences. Sounds can generate a special feeling or
underline brand identity while simultaneously providing cues that a
command has been received by the system. Most smart phones today come
with subtle sounds that indicate the pressing of a touch screen’s
virtual buttons. Since there is no way to feel if a virtual button has
been pressed, the sounds reinforce the action for the user. Another
example can be found in industrial design, where the latest electric
cars are being designed with artificial motor sounds. The sounds alert
pedestrians to the car as well as reinforce the sense of driving a
powerful vehicle. These examples underline the overall trend of sound
being used to create an aesthetic experience rather than serving as
purely a functional aid to improve interaction.</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVoWOS-3AleSRc5Us8nAKfP00dwu4WVeud4pHWjeGrOf72jnl515NPwhbHFcXTLByxzqLoefXIIMsk7mr6tGdp3_jHi2-EmIj6U_19WxSQNdN7XdD_X_kCXHkLUYGZrcAfHWT3g/s1600/Screenshot+2012.09.09+20.51.44.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVoWOS-3AleSRc5Us8nAKfP00dwu4WVeud4pHWjeGrOf72jnl515NPwhbHFcXTLByxzqLoefXIIMsk7mr6tGdp3_jHi2-EmIj6U_19WxSQNdN7XdD_X_kCXHkLUYGZrcAfHWT3g/s400/Screenshot+2012.09.09+20.51.44.png" width="400" /></a></div>
<br />
<br />
<b>Blurring the Border Between Listening and Composition</b><br />
<br />
<div style="text-align: justify;">
While systems and products are becoming more enjoyable and pleasant
to listen to, they are usually not intentionally designed for sound
interaction. The emergence of accessible music software on computers and
mobile devices is changing this. These programs allow for easy
modification of sound by the average user and blur the border between
listening and sound creation. The small form and limited complexity of
mobile interfaces has forced music software designers to reduce the
complexity of their products, resulting in music software that is widely
used by average mobile phone users.</div>
<div style="text-align: justify;">
Music apps are often top sellers. Popular applications allow people
to become mobile DJs, to transform sounds, and to design ringtones.</div>
<div style="text-align: justify;">
I was interested in exploring the blur between sound creation and
listening when my friend and colleague Matteo Penzo put me in contact
with <a href="http://www.linkedin.com/in/matteomln" target="_blank">Matteo Milani</a> from the <b>U.S.O. Project</b>
sound art group. The ideas and compositions of the U.S.O. Project
revolve around the use of noise and ambient sound as a foundation for
sound installations and music composition. Together we wanted to create a
mobile experience that would support active listening to the everyday
sounds that surround us, making the listener a part of a personal sound
installation. Instead of creating a tool for recording and transforming
sound, we wanted to start from the sounds themselves. Our goal was to
reinforce the sounds of the listener’s environment while blending them
with more musical sounds. Together the sounds would form a unique
experience that could be enjoyed by anybody that has an interest in
sound and art. </div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjM2Q0l6dPcBxiXaOb31-m6y1n8_hMW-cvqSgxZtwUoB7XJmb9WNPEb-SlRKozZxLsZHo578e4EomSNymaNJxR3AZqw6hSfajH3vFASWfi96l_3AiRhe3NbxmZxghzVECr9AdutQ/s1600/Screenshot+2012.09.09+20.51.30.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjM2Q0l6dPcBxiXaOb31-m6y1n8_hMW-cvqSgxZtwUoB7XJmb9WNPEb-SlRKozZxLsZHo578e4EomSNymaNJxR3AZqw6hSfajH3vFASWfi96l_3AiRhe3NbxmZxghzVECr9AdutQ/s400/Screenshot+2012.09.09+20.51.30.png" width="400" /></a></div>
<br />
<br />
<b>Early Experiments</b><br />
<br />
<div style="text-align: justify;">
We started with a small prototype app for iOS using simple sound
algorithms to blend U.S.O. music with live recording from the iPhone
microphone. The prototype was tested with real use cases that included
listening to the app while taking a long walk as well as while sitting
at the computer in the office. We added many parameters for the user to
be able to tweak and play with the sound transformation.The parameters
were mapped to on-screen sliders and buttons and to sensors like the
accelerometer.</div>
<div style="text-align: justify;">
While doing the informal tests we found that the users were
struggling to understand the relationship between the parameters and the
sound output. Also, in most cases they would end up spending time
experimenting with the parameters to discover how they work. The visual
interface and controls were clearly distracting, taking attention away
from the app’s original goal of reinforcing ambient sounds for the
listener. </div>
<div style="text-align: justify;">
Following these early experiments, we decided to take a drastically
different approach. We limited the visual interface as much as possible
and provided a set of sound themes in the app for the listener to
select. This worked much better. All of a sudden the users would pick up
the app and, once started, would tuck it away in a pocket while
listening to the sounds. Each theme takes sounds from the microphone and
blends them with sounds composed by U.S.O. Project. The sounds are
blended using sound algorithms, unique to each theme. Each algorithm is
carefully calibrated to replicate the work and skill that goes into
producing a great listening experience.</div>
<br />
<b>Lis10er</b><br />
<br />
<div style="text-align: justify;">
The result is <a href="http://itunes.apple.com/us/app/lis10er/id543990651">Lis10er</a>
(pronounced Listener), an augmented sound installation app. Sounds are
blended from the listener’s surroundings, creating dynamic music that
changes while maintaining its identity. Lis10er provides users with a
creative way of listening to their environment and a unique experience
with every listen. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
[<a href="http://www.lis10er.com/">www.lis10er.com</a>] </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<i>Tue Haste Andersen is Senior Software Architect based in <a href="http://www.frogdesign.com/contact/milan.html" target="_blank">frog’s Milan studio</a>. Tue is a Human Computer Interaction and Computer Music
expert, with research ranging from DJ work practices to the use of sound
and music in common interaction tasks. He is also the founder and
original author of the popular open source DJ software, <a href="http://www.mixxx.org/">Mixxx</a>.</i></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-62646088146779054642012-09-17T16:14:00.000+02:002012-09-28T11:31:10.477+02:00Mirror_Mirror | Sound Installation<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOekLJ1Sb1cm7huLEd3p1nFJ3eV5gee_LkQedV-qGdGgsh4n_oV_n_gzKp1Fd3OPGQvtCDyGhVF08NRuLdiXtuHfee4HYM4v9Z3X5xoABN3rbq7jPwJUfMnYN26013HiibvXXl8Q/s1600/Mirror_Final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOekLJ1Sb1cm7huLEd3p1nFJ3eV5gee_LkQedV-qGdGgsh4n_oV_n_gzKp1Fd3OPGQvtCDyGhVF08NRuLdiXtuHfee4HYM4v9Z3X5xoABN3rbq7jPwJUfMnYN26013HiibvXXl8Q/s640/Mirror_Final.jpg" width="408" /></a></div>
<br />
<i>Concept and software design by Federico Placidi<br />Hardware design by Matteo Milani<br />Woodworker: Fabio Testa<br />Produced by U.S.O.Project, 2012</i><br />
<br />
<i>Where: <a href="http://www.dotbox.it/main/?tribe_events=mirror-mirror-sound-installation-by-u-s-o-project" target="_blank">[.BOX] Videoart project space</a>, Via Federico Confalonieri 11, Milan</i><br />
<i>When: Thursday, September 27, 2012 | 6:30 until 21:30 PM</i><br />
<i>Free admission</i><br />
<br />
<div style="text-align: justify;">
The concept of multiverse was first introduced in the so-called “many-worlds interpretation” (MWI) of quantum mechanics by Hugh Everett III in his PHD thesis, "The Theory of the Universal Wavefunction". His model was thought as an alternative to the renowned theory called “Copenaghen interpretation”, developed by Niels Bohr and Werner Heisenberg.<br />
<br />
The <b>MWI</b> interpretation postulates that every quantum measurement process (at Planck’s scale) creates, as a consequence, a division of the observed Universe into multiple parallel universes - as many as the possible outcomes of the measurements are.<br />
<br />
In different formulations of this concept, all the universes - which form the Multiverse - are structurally identical, and they can coexist at different states even if they possess the same physical laws and fundamental constants.<br />
<br />
We need to take into account that those universes are non-communicating (there cannot be any information exchange between them).<br />
<br />
In an episode of the famous TV series “<b>Doctor Who</b>” - the episode was Doomsday, written by Russell T. Davies - the Doctor finds himself in the situation to make a difficult and dramatic choice: separating from the person who probably loved him the most, by “exiling” her in a parallel universe to guarantee her safety and survival.<br />
<br />
It is worth mentioning some parts of the dialogue from the original script of the episode:</div>
<i><br /></i>
<br />
<div style="text-align: justify;">
<i><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">Rose comes to a halt in the middle of the beach and stands there, waiting. A short way to her left, the Doctor fades out of thin air. Rose turns to him. He's slightly translucent.</span></span></i><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">ROSE</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">Where are you?</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><b><br /><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">THE DOCTOR</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">(his voice sounds distant)</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">Inside the TARDIS.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<u><b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">INT. TARDIS</span></span></b></u><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">The Doctor is, in reality, standing by the TARDIS console facing straight ahead.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><u><b><br /><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">THE DOCTOR (CONT'D)</span></span></b></u><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">There's one tiny little gap in the universe left, just about to close. And it takes a lot of power to send this projection, I'm in orbit around a super nova.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">(laughs softly)</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">I'm burning up a sun just to say goodbye.</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">Sure enough, the TARDIS is spinning around a beautiful super nova.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><b><u><br /><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">EXT. BAD WOLF BAY</span></span></u><br /><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br /><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">ROSE</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">(shaking her head)</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">You look like a ghost.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">THE DOCTOR</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">Hold on...</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">He takes his sonic screwdriver out of his pocket.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<u><b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">INT. TARDIS</span></span></b></u><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">He points the sonic screwdriver at the console and somehow this strengthens his projection.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><u><b><br /><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">EXT. BAD WOLF BAY</span></span></b></u><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">The Doctor now looks as solid as if he were really there. Rose walks over to him and raises a hand to touch his face.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">ROSE</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">Can I t--?</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><b><br /><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">THE DOCTOR</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">(regretfully)</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">I'm still just an image. No touch.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">ROSE</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">(voice trembling)</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">Can't you come through properly?</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<b><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">THE DOCTOR</span></span></b><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;">The whole thing would fracture. Two universes would collapse.</span></span></div>
<br />
<div style="text-align: justify;">
The scene partially violates the no-information-transit prohibition between the two universes, but the subterfuge used in the story (the two characters cannot touch, only see each other), somehow preserves the assumption presented by the <b>MWI</b>, only conceding a small but necessary poetic licence.<br />
<br />
In the same episode, there is a very touching scene, where the two characters (Rose and the Doctor), right after their isolation in two different universes, are in front of one another separated only by a simple white wall.<br />
<br />
This border, imaginary and symbolic, which divides not only two places in the same space-time continuum, rather two whole universes, gave us an idea.<br />
<br />
We wanted to offer that experience as an installation. We wanted to allow the audience to listen to whatever is “on the other side”, beyond that wall, and we wanted all this to happen in real time.<br />
<br />
That’s how <b>Mirror_Mirror</b> was born.<br />
<br />
The installation is organized inside a space.<br />
<br />
What does this mean?<br />
<br />
The space in itself, when it isn’t filled with matter (empty), is in reality permeated by low energy levels continually fluctuating.<br />
<br />
These fluctuations in the void, have a particular significance on a quantistic level (we refer to the Planck scale, so at infinitesimally small dimensions).<br />
<br />
In quantum mechanics, these fluctuations represent temporary shifts in the energy state of the void space, according to the Heisenberg Uncertainty Principle.<br />
<br />
This means that the Conservation of energy principle can be violated for very brief periods of time (the lower the energy, the longer the fluctuation can persist.)<br />
<br />
This energy can decade and take the shape of pairs of particles and antiparticles (which then annihilate each other).<br />
<br />
In substance, the amount of average energy on a larger scale remains constant. Nothing is created, nothing is destroyed.<br />
<br />
<i>“There is a fact, or if you wish, a law, governing all natural phenomena that are known to date. There is no known exception to this law—it is exact so far as we know. The law is called the conservation of energy. It states that there is a certain quantity, which we call energy, that does not change in the manifold changes which nature undergoes. That is a most abstract idea, because it is a mathematical principle; it says that there is a numerical quantity which does not change when something happens. It is not a description of a mechanism, or anything concrete; it is just a strange fact that we can calculate some number and when we finish watching nature go through her tricks and calculate the number again, it is the same.” - <b>R.Feynman</b></i><br />
<br />
It was in our interest to draw an analogy in the sound domain, allowing the audience to directly experience this phenomenon.<br />
<br />
As a consequence, we created an application able to “sonify” ideal energetic fluctuations (generating pressure waves, structures and emerging behaviours), starting from the lower energy level available, which is the background noise.<br />
<br />
Thanks to the <a href="http://www.symbolicsound.com/cgi-bin/bin/view/Company/WebHome" target="_blank">Kyma</a> software implementation, and the use of microphones, it was possible to “measure” background noise and , through a series of negative feedback operations, enable the instrument to create “something”, using all the information available in our space/universe to create temporary energetic fluctuations (statistic variations of the density of sonic quantums’ “packets”), without violating the Conservation of energy principle - in fact, the average energy quantity, altogether, remains the same.<br />
<br />
We’ve thus arrived to the gravitational center (here we have no more fluctuations, only numerous certainties, due to the dimensions and mass of the object) of the opera, which is represented by a wooden artifact, symbolically revisiting the white wall we came across in Doctor Who, which divides our universe from another possible universe.<br />
<br />
Which one it is, the visitor will have to find out for himself.<br />
<br />
By placing a stethoscope on the wooden surface. the observer will be able to “measure”, with various levels of definition, the sounds coming from another probable universe out of phase with ours.<br />
<br />
In fact, as identical as it will seem, it strangely does not share the same temporal parameter.<br />
<br />
From quantum mechanic and its Multi-Worlds interpretation, we know that every measurement operation will produce a further division of the universe.<br />
<br />
So, it is possible that in the end, there will be as many universes as the present observers.<br />
<br />
And, paying a little attention, it will be possible once again to listen to the voices of Rose and the Doctor, as if they are suspended in a temporal loop, to remind us that maybe, the current physics laws, could not be the same in every place and every time.<br />
<br />
<i>Federico Placidi, Matteo Milani<br />>>U.S.O.Project</i></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-38308269081829994542012-09-09T12:58:00.000+02:002012-09-09T12:58:39.759+02:00New Album 'Unsorted Tales' Just Released!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK73Jo_mbklfv3kYbNrFPkFcb_mgnhlhMl0ZyurLmPKwX4zb2fn4nH1Y-gbMyQz5YZzy1Q3OsVhpJjW0Hm4vTBwjqooQRUGEEvtMSW0dBwsaGqBqqsxB9gzm-FDtlU92WuL8CS6g/s1600/Creature.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK73Jo_mbklfv3kYbNrFPkFcb_mgnhlhMl0ZyurLmPKwX4zb2fn4nH1Y-gbMyQz5YZzy1Q3OsVhpJjW0Hm4vTBwjqooQRUGEEvtMSW0dBwsaGqBqqsxB9gzm-FDtlU92WuL8CS6g/s400/Creature.jpg" width="400" /></a></div>
<br />
Composed by U.S.O. Project - Unidentified Sound Object<br />
SYN-007 © 2012 Synesthesia Recordings<br />
Mastered @ <a href="http://www.greenmovie.com/" target="_blank">Green Movie</a>, Milan (Italy) by Matteo Milani & Federico Placidi<br />
<br />
<b>Performers:</b><br />
Edoardo Carlo Natoli - Violin<br />
Federico Placidi - Violoncello & Flute<br />
<br />
<b>TRACKLIST:</b><br />
<br />
1) F'Shima (13.49)<br />
2) Gretel's New Clothes (19.46)<br />
3) Psalm 21 (22.15)<br />
<br />
<b>RELEASE INFO:</b><br />
<br />
Artist: U.S.O. Project - Unidentified Sound Object<br />
Title: Unsorted Tales
Cat.No: SYN-007<br />
File under: Experimental/Electronic<br />
Format: Digital<br />
Release date: 9.2012<br />
<br />
<br />
<span style="font-size: large;"><b>F'Shima </b></span><br />
<br />
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<br />
It's night.<br />
There are no precise coordinates, nor recognizable signs that can lead us back to a familiar place.<br />
And yet those sounds remind us, almost pathetically, of a summer night scene, to which we listened countless times.<br />
But that’s not what this is.<br />
The slow and articulated flow of pulsating energy gradually takes a structure, enabling us to be part of something very different.<br />
The flow surrounds us, passes through us.<br />
We can’t see it, nor touch it, but every particle interferes with our body, with our biological substrate.
Far away, a storm is coming, perhaps.<br />
It’s neither natural, nor inoffensive. It deceives us with the variety of its harmony of timbres.<br />
The structure suddenly changes, reorganizing itself while turning us into something new.<br />
A breach made of light. It’s oscillating.<br />
Then, silence.<br />
The air stagnates, suspended and motionless.<br />
An electrical impulse.<br />
One more.
Others follow, one after another, fainter and more distant.<br />
(Sounds), like petals made of ash.<br />
<br />
<div style="text-align: justify;">
<i>F'Shima was designed and built around a series of recordings of electromagnetic fields generated by various electronic devices (Hard Drives, iPad, iPhone, Portable Game Consoles ...), recordings made by using old analog phone-captors.
The source material, sometimes fully recognizable, sometimes radically altered, has been digitally processed using the Kyma Sound Design environment.</i></div>
<div style="text-align: justify;">
<br /></div>
<br />
<span style="font-size: large;"><b>Gretel's New Clothes </b></span><br />
<br />
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<param name="allowscriptaccess" value="always"></param>
<embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F53506575&show_comments=true&auto_play=false&color=000000" type="application/x-shockwave-flash" width="100%"></embed> </object><br />
<br />
"Nibble, nibble, gnaw,<br />
Who is nibbling at my little house?"<br />
The children answered:
"The wind, the wind,<br />
The heaven-born wind."<br />
<br />
<div style="text-align: justify;">
<i>Gretel's New Clothes is, in a way, an acousmatic reinvention of the famous fairytale by the Brothers Grimm.
It is in the form of a Rondò. </i></div>
<div style="text-align: justify;">
<i>There is no attempt to literally retrace the story, rather to suggest it in a subtle way, through the use of strongly characterized sound materials (footsteps in the woods, the wind, the "sounds" of the night...) which are then dialogically processed during the final Violin and Cello improvisation. </i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
“They walked the whole night and all the next day too from morning till evening, but they did not get out of the forest, and were very hungry, for they had nothing to eat... And as they were so weary that their legs would carry them no longer, they lay down beneath a tree and fell asleep.” </div>
<br />
<br />
<span style="font-size: large;"><b>Psalm 21</b></span><br />
<br />
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<param name="allowscriptaccess" value="always"></param>
<embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F53506576&show_comments=true&auto_play=false&color=000000" type="application/x-shockwave-flash" width="100%"></embed> </object><br />
<br />
“...Your hand will find out all your enemies;<br />
your right hand will find out those who hate you.<br />
You will make them as a blazing oven<br />
when you appear.<br />
The Lord will swallow them up in his wrath,<br />
and fire will consume them.”<br />
<br />
<div style="text-align: justify;">
<i>Psalm21 is not a religious work.
There is no implication of a celebratory or ritual nature.
The dominant and recurring element during the composition of the piece, is the relationship between creation (as a constantly evolving act), creator (of which we ignore existence and features) and creature (as a self-conscious subject that reflects on his nature).
These three elements are the driving force around which the work unfolds.</i><br />
<br />
[Available on <a href="http://www.cdbaby.com/cd/usoprojectunidentifiedso" target="_blank">CD Baby Music Store</a>]</div>
[Digital booklet: <a href="http://www.synesthesiarecordings.com/press/Unsorted_Tales_booklet.pdf" target="_blank">Unsorted_Tales.pdf</a>]
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-14564423535432304172012-08-27T17:58:00.001+02:002012-08-28T09:20:43.586+02:00An interview with Hamilton Sterling<div style="text-align: justify;">
<i>by Matteo Milani - U.S.O. Project, 2012 </i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
I am happy to continue our series of interviews with <a href="http://www.imdb.com/name/nm0827515/" target="_blank">Hamilton Sterling</a> - sound designer, supervising sound editor, effects editor, and mixer who has worked on The Dark Knight, War of the Worlds, and Master and Commander: The Far Side of the World, as well as many independent films. He recently cut sound effects on MIB3 and The Host, and worked on Terrence Malick’s To the Wonder, and The Tree of Life. Hamilton was the supervising sound editor, sound designer, and re-recording mixer on Tomorrow You’re Gone by David Jacobson, and has edited sound on the films of P.T. Anderson, Christopher Guest, Andrew Dominick, and Steven Spielberg. To date he has worked on over seventy-nine feature films. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0ub_k9JNWJyvcatEEoyFEKmcDjFcuDNT3Q9EU79YOU2Prv_eFote2W2sz6IP-2smpJHMXePXL4pMrrjAythjzFa9XeGEsF7mPD_M8IPLuC6Q8nZM9Gnt5z8-CzmiMu1QjNVCHA/s1600/092911_8251.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0ub_k9JNWJyvcatEEoyFEKmcDjFcuDNT3Q9EU79YOU2Prv_eFote2W2sz6IP-2smpJHMXePXL4pMrrjAythjzFa9XeGEsF7mPD_M8IPLuC6Q8nZM9Gnt5z8-CzmiMu1QjNVCHA/s400/092911_8251.jpg" width="266" /></a></div>
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<br /></div>
<div style="text-align: center;">
<i>Recording a Demolition Derby (photo: Michael Dressel)</i></div>
<div style="text-align: center;">
<i><br /></i></div>
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<br /></div>
<div style="text-align: justify;">
<b>Matteo Milani: Thanks for your time Hamilton! First of all, could you tell me a bit about your education and musical background?</b></div>
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<br /></div>
<div style="text-align: justify;">
<b>Hamilton Sterling:</b> I come from a musical family. My mother and aunt sang four, five, and six part harmony by ear. They performed as the Silhouettes on KDKA radio in Pittsburgh, Pennsylvania in the 1930’s. Both were very encouraging of my early musical interests. My aunt, who worked at the local newspaper, often brought home fascinating music: György Ligeti, George Crumb, music from all over the world. I heard the soundtrack to Fellini Satyricon before I ever saw the film. My mother was a jazz fan, and when I was a boy, would take me to listen to local groups. </div>
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<br /></div>
<div style="text-align: justify;">
In high school I played electric bass in the jazz band and upright bass in orchestra. The musician’s union put together an all-star big band for high school students in which I played, and I also performed in the Allstate Orchestra, becoming principal bassist my senior year. I played my first jazz gig when I was sixteen years old, and entered Arizona State University on a four-year music scholarship, graduating with a BA in jazz and classical performance. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
From a social context, I also benefited from the cold war belief that the arts held importance, and that America had to out-compete the former Soviet Union in creative endeavors. Music education in elementary school and high school was excellent and generously funded. Unfortunately, for the arts and young artists, those days are gone. </div>
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<br /></div>
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<br /></div>
<div style="text-align: justify;">
<b>MM: Does your experience as a musician help you in your career in film sound? </b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>HS:</b> I think a sense of rhythm, melody, and harmony is essential in being able to make interesting sound for film. Recent studies show that human beings are wired for music. In studing jazz, the adage of “learn the music theory, then forget it” allows the right brain freedom to improvise from knowledge. I’ve come to feel that cutting and layering sounds is a slow-motion version of improvisation. </div>
<div style="text-align: justify;">
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<b>MM: How did you enter the movie industry? </b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>HS:</b> Alongside my musical activity, I became obsessed with films. Stanley Kubrick’s 2001: A Space Odyssey became the impulse for much of my early creative life. I saw the film for the first time when I was ten years old. It brought to me an interest in modern classical music, archeology, cosmology, astronomy, AI, cinematography, and special effects. It also appealed to my budding existentialism. That any one object of art could do so much was, to a young mind, amazing. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It may seem hard to believe, but public television at that time played films by Antonioni, Godard, Fellini, Losey, and Bergman, and the art house cinemas were still going strong. I began making short films in the summer vacations between school from the money I made playing music. When I came to Los Angeles in the early 1980s, sound seemed a natural fit. I began by editing documentaries, Warren Miller ski films, industrial films, until I got my first sound effects editing work on Alan Rudolph’s Trouble in Mind. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>MM: Choosing the right sound(s) to picture. An art form? </b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>HS:</b> Because sound editing began as a technical blue-collar job, many people had the impression that what we did was nothing special – “A monkey could do it” was the often-heard refrain. Here in America, we never developed a militant artistic union, an aesthetic of labor, if you like. Of course, because many of the corporate films being made today are empty of artistic merit, to say nothing of merited thought, it’s no wonder that art and labor are still dirty words. Choosing the right sound is an artistic, and surprising moral endevour. Thinking back on choosing sounds for films I did twenty-five years ago, if you had a scene in a rough cityscape, one might choose a black voice yelling in the street. The effect of that implying threat (at least to a certain part of the population). And that is a choice that can subtly further social injustice. I’m not saying that an artist should proscribe their work, but one has to very conscious of one’s choices, because in mass entertainments, those choices may reach millions of people, and they have consequences. </div>
<div style="text-align: justify;">
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<br /></div>
<div style="text-align: justify;">
<b>MM: You've frequently shared your nominations with Richard King, Christopher Flick and Michael W. Mitchell. How do you guys collaborate on projects? </b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>HS:</b> When I worked for Richard King, I did sound design and sound effects editing. Occasionally, I did sound effects recording. The frog rain in Magnolia was re-recorded against the reflections of a cliff in the Angeles National Forest. We set up two speakers facing away from the microphones, and slowly rotated the speakers toward mic, giving the playback the effect of distant frogs falling toward us. Eric Potter and I also put a speaker in a pickup truck to record a playback of previously sampled frog elements. Eric put the truck in neutral and steered into the quiet, distant valley. The sound was incredibly bizarre, and I ruined the heads and tails of multiple takes by laughing. It’s always fun to get out into the world to record, and Richard loves to record. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Chris Flick did all the programming and cutting of the foley, and we conferred with him on elements that effects needed help with. As to the sound effects editing, Michael Mitchell and I did a lot of heavy lifting. Richard cuts sound effects as well, and in this day and age, I admire him for it. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>MM: Would you like to explain your role when working with the other members of the sound editorial?
</b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>HS:</b> When I’m not supervising, I try to communicate very specifically with the supervisor and my fellow editors: what are the stage delivery requirements, the predub breakdowns, or whether there will even be predubs, who is doing what in terms of special design. Hopefully, the supervisor has been able to spot the film with the director. If there is little in the way of specific information, I get a sense of the aesthetics of the director from what’s on the screen. If what you see is a pack of cliches, you know what to expect. If there are few cliches, you have reason for hope. At the end of the day, your work is only as good as the director’s vision, and their courage to take risks. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmFbT3Ct84ZSDdxtXSw9VHTB1L9lp3YeXYTp_HUePUwgsicGTWS2veVDBYUDOKePSIz4WX2ltGb4eYId7zf5xdPVwRkv0x0jHkyCM56ztAkLPSlTQUnZ-bdX-6ux4IwSrSJzpxQ/s1600/IMG_0245+copy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmFbT3Ct84ZSDdxtXSw9VHTB1L9lp3YeXYTp_HUePUwgsicGTWS2veVDBYUDOKePSIz4WX2ltGb4eYId7zf5xdPVwRkv0x0jHkyCM56ztAkLPSlTQUnZ-bdX-6ux4IwSrSJzpxQ/s400/IMG_0245+copy.JPG" width="400" /></a></div>
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<div style="text-align: center;">
<i>On the Cary Grant stage at Sony on Morning (photo: Leland Orser)</i></div>
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<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
<b>MM: What are the musical tools you use to boost your sound designing workflow? </b></div>
<div style="text-align: justify;">
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<b>HS:</b> A number of years ago I purchased a Kyma sound design system from Symbolic Sound. It is very useful in producing unique sounds. It’s always inspiring. I also use my old Kurzweil K2000 as a midi controller, a Haken Continumm fingerboard, and a PC2R. In studio I use Millennia mic preamps. For field recording I use Schoeps mics and Sound Devices mixers as well as different contact, ribbon, and dynamic mics to gather my sounds. My bass is fitted with a midi pickup that I also use through an Axon to trigger my samples. </div>
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<b>MM: Sound processing: can you give us a description of your studio gear? </b></div>
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<b>HS:</b> I use Pro Tools HD3, Genelec 5.1 speakers with a MultiMax monitor, and many plug-ins. For picture I project HD through a Decklink card to a nine-foot screen. Aside from Kyma, Haken Continuum Fingerboard, Kurzweil, and Axon, I have on occasion used Beat Detective in Pro Tools to place rhythmic structure onto multiple effects, and Melodyne to re-engineer animal vocals. I just started using Battery as a sampler. Altiverb, Pitch ‘N Time, Lowender, and GRM tools are staples. </div>
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<b>MM: Can you reveal to us a "making of" of a very special sound effect(s) or a sound sequence? </b></div>
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<b>HS:</b> I’m very proud of the storm sequence in Master and Commander: The Far Side of the World. Making the scene dynamic given the similarity of frequencies both in the water and the wind was an interesting problem. First I began by cataloguing the ocean sounds into frequency ranges from low to high. I catalogued the wind in a similar way. At the time, Warner Bros. had terrible editorial rooms that had not been updated since the 1950s. Not only was there no surround system, but there was no wall treatment of any kind. Anyone who has had to edit endless water and ocean effects knows that in a box-like room with hard surfaces, audio hallucinations in the white noise of the waves can produce boat engines that aren’t there and other weird effects. So I brought sound blankets from home and hammered them into the walls. I scavenged an extra pair of speakers from an adjoining room and built myself a primitive surround system. I cut the sequence in 5.1 tracks that would mirror the mixing console and internally panned and level-set everything. Because the water visual effects were actual layered shots of waves, they changed constantly. But the first time I cut the sequence, I really liked the rhythms I had found. As the sequence changed, I was determined to keep this poetic kind of rhythm, so instead of just cutting up the tracks in conforming them, I took the time to find new rhythms and create the sequence anew each time it changed. I was very tough minded in this approach. Fortunately, I was given the time to do this – something that is unique to this day. I then cut the hard effects in the same 5.1 style and processed the siren’s call of the wind in the rigging through <a href="http://www.symbolicsound.com/cgi-bin/bin/view/Connect/O20031114FilmTWikiGuest" target="_blank">Kyma</a>. When the edit went to the stage in this form, the mixers worked on it for a couple of days, trying to tame it. Much to their kindness, they told me they decided to put it all back the way I had originally laid it out because it had a life to it that their smoothing of the rough edges took away. That’s the way the sequence was released. </div>
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<b>MM: What do you regard as your most important credits in your career thus far? </b></div>
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<b>HS:</b> The Tree of Life and The Assassination of Jesse James by the Coward Robert Ford are my two favorite films. They’re closest to the feelings I felt as a young man introduced to the great European cinema: thoughtful, unsentimental, mysterious. They capture something of eternity. </div>
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<b>MM: How do you get involved with the movie “The Tree of Life”? What kind of approach did you take on foley? </b></div>
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<b>HS:</b> I have known the sound supervisor, Craig Berkey, for many years. Erik Adahl had hired me on Transformers: Revenge of the Fallen, and mentioned me to Craig. We fell back together again, which is the way of the film business. Andy Malcolm of Footsteps Studios walked the foley. Realism and proper perspective (using multiple mics) is very important. Because Mr. Malick often uses non-synchronous production takes, foley is used to ground the characters within the scene. It becomes another part of his pallet. When it is absent, that too becomes a color. </div>
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<b>MM: Can you describe how some of those sounds were accomplished? </b></div>
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<b>HS:</b> Andy originally used his house as a foley studio. It’s out in the middle of the Canadian wilderness – forty-five minutes from Toronto. The stairs really creak, he never sweeps his kitchen. It’s all real. (Just kidding about the kitchen.) Now he has a fabulous studio a stone’s throw from his house, so you get the best of both. </div>
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<b>MM: How was the communication with the director and the rest of the team? </b></div>
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<b>HS:</b> I was only on stage for a few hours during our first temp mix. But I was struck by Mr. Malick’s graciousness. I truely admire his work, and have since I first saw Days of Heaven as a youth. </div>
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<b>MM: To mix "in the box" in sound editorial before the final dub: what are its pros and cons? </b></div>
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<b>HS:</b> Unfortunately, schedules now seem to only allow the sound effects to be mixed in-the-box. Even on the most well-financed films, mixing in-the-box is now common. On Knight and Day (James Mangold), we pre-mixed all of the sound effects and ambiences into 5.1 groups and kept them virtual. We had a couple of weeks to adjust these pre-mixes on the mixing stage, as the console on the Cary Grant stage at Sony could mirror Pro Tools. But the number of tracks and the constant changes necessitated having to continually re-mix added elements in-the-box. I recently did some work on MIB3, and at least for the temp mix, the effects were pre-mixed in-the-box, then taken to the stage for final adjustment. Keeping a somewhat traditional separation of elements is helpful for conforming, as well as giving the sound effects mixer creative input. If you set your editing room up correctly, it can work out quite well. Of course, sound editors are not being paid as mixers, so there are ways in which this situation is financially disadvantageous. But it is creatively rewarding. For independent films, the future is here. With the track counts of the new Pro Tools HDX cards, traditionnal mixing facilities will have an increasingly difficult time staying afloat. Unfortunately, many fine mixers will as well. </div>
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<b>MM: A networked environment: can you describe the importance of a client/server architecture in sound post production for a feature film? </b></div>
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<b>HS:</b> It’s great to have. On Knight and Day we were editing at another facility before we moved to Sony for the mix. Sony has a nice server system for moving your work to and from colleagues as well as mixing stages. Structuring the folder architecture on the server is extremely important. Knowing exactly what elements have come from the mixing stage, what needs to be updated, what needs to be mixed, may seem simple, but with multiple versions, competing creative interests, and huge amounts of data, organization and terminology is paramount. </div>
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<b>MM: Sound effects editing for multichannel-surround: what are you spazialization techniques? </b></div>
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<b>HS:</b> I edit for the 5.1 pre-mixes. When I do have to spread an effect, I’ll use a little delay, reverb, or the Waves PS22. I’ve recently begun using the Schoeps free DMS plug-in for three channel field recording that decodes to 5.0 surround. I love the Schoeps plug-in. Now I record all my sounds on three channels and decode to 5.0. Even simple sounds, like a light switch, pick up the character of the room. It’s a facinating way of creating a feeling, using these simple multi-channel sounds. If the simple sound creates an interesting space, I’ll work backward, and using Altiverb, try to get the rest of the sounds of the scene into that same environment. Of course if it doesn’t work, you still have the mono or MS stereo recording. </div>
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<b>MM: You made a film in the late ‘90s. Did you do your own sound? </b></div>
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<b>HS:</b> I supervised it and cut, but I had a number of wonderful friends from the sound editing and mixing worlds who helped me to complete it. Because of current events, I decided to prepare a new version of the film, Faith of Our Fathers, for Blu-ray and DVD, and re-construct the sound for 5.1. As I began to re-assemble all the elements, I realized that we who started in the business in the mid-1980s lived through a radical transition in our work. At the time magnetic film was all there was. But by the time I shot Faith of Our Fathers in 1991, the digital world was just beginning. Faith was originally shot on 16mm film with a 1:1.85 ground glass for theatrical blow-up to 35mm. All the dailies were 16mm. I had obtained from a friend, one of the first Sony D10 Pro DAT recorders in the country. It was strictly grey-market. I thought I could mix and record the production sound to one channel and put a 60 cycle pilot tone on the other so that when transfering to magnetic stock (both 16mm and later 35mm) the transfer machine (“dubber” we called it) would stay in sync. So, over a long period of time, friends and I sunk and coded the 16mm dailies. I cut the picture, and when it was time to prepare the track for 35mm mixing in 1995, I used a 16mm to 35mm synchronizer to phase the new 35mm dialogue to the 16mm worktrack. The dialogue was cut on mag. The backgrounds were a combination of 24 track two-inch and DA-88s (the bane of all mixers at the time). And most of the sound effects were cut on an early version of Pro Tools which were then transfered to DA88. When I decided to do my 5.1 re-mix, I had 35mm mag to transfer to Pro Tools, DA88s (I still have one of those boat anchors which work!), and DATS with original production and music. When I think that the process involved 16mm mag, 35mm mag, Pro Tools, 24 Track, DAT, and DA88s, it becomes evident that the transition from analog to digital was quite messy. The other shocking thing is that I was able to finance my film on a sound editor’s salary (which is the reason it took so long to complete). </div>
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<b>MM: What are your thoughts on the boundaries between music and sound design?</b></div>
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<b>HS:</b> Having recently released <b>Migration</b>, I can tell you that creating a 5.1 programmatic musical soundscape is a wonderful artistic process. Combining a purely aural narrative with the abstraction of music and processed effects blurs the creative experience. I don’t mean just adding a sound effect to a music track, I mean creating the entire living thing as one artistic statement. There is a universe of possibility in the soundscape form, and because of my musical life, the addition of ambiences and effects to create emotion is a fullfillment of who I am. Other examples of soundscapes that I like can be found in the plays of Romeo Castellucci’s <i>Socìetas Raffaello Sanzio</i> and the <i>Wooster Theater Group</i>, both of which I find inspiring. As to the boundaries between music and sound design in film, I would say they have been nearly erased. I just completed the film Tomorrow You’re Gone, with Michelle Monaghan and Stephen Dorff. Kyma was used extensively in creating a very musical soundscape in which to set the traditional effects. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1tmNJAw6Lg8GeuaOaKEedURG7fgUL3SA4H78p17vFRhenr327WXL7uAV39R_l-nP3Z09lCXYsQ8B5ZeSuegBuKa-W3iRESHHGwhcJBwsoTlYtxFFiHxNH2NKMK-RAOgb-1wpzg/s1600/L1010141.crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1tmNJAw6Lg8GeuaOaKEedURG7fgUL3SA4H78p17vFRhenr327WXL7uAV39R_l-nP3Z09lCXYsQ8B5ZeSuegBuKa-W3iRESHHGwhcJBwsoTlYtxFFiHxNH2NKMK-RAOgb-1wpzg/s400/L1010141.crop.jpg" width="296" /></a></div>
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<i>Recording 5.1 ambience for Tomorrow You're Gone (photo: Cris Lombardi)</i></div>
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<b>MM: About your album releases: do you think that detectable technical processes are an integral aspect of the composition’s overall aesthetic? Is it important in this composition that the listener is aware of the technical processes?</b> </div>
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<b>HS:</b> The album <b>Rise and Fall</b> is made mostly of live loop improvisations featuring fretless bass, acoustic bass guitar, and midi-following synths and effects. It grew out of musical feelings, a very simple midi-synth/live stereo mix chain, and the need to not multi-track, or manipulate the live performance. In that respect, technical qualities like midi delay, or tracking annomilies by the Axon pitch controller, were of secondary importance to the spontanious capture of the music. No meta statement should be implied from these technically primative recordings, other than they were all done with as little post-production as possible. As for <b>Migration</b>, the soundscape album I created with Grammy-winning musician Jimmy Haslip, that is a piece that was conceived and composed for surround. It’s feelings and scope are purposely cinematic. </div>
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<b>MM: What's the most important tip you've ever received regarding sound? </b></div>
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<b>HS:</b> Often on big films, the amount of audio ideas brought to the process can be overwhelming. Sitting on the mixing stage listening to Steven Spielberg, Michael Kahn, and John Williams discuss how best to tell the story of a scene on War of the Worlds, I was struck by their equanimity toward music and sound effects. For them, it is all about story. Their years together have created a language around this idea. What tells the story in a particular moment, and what elements do you have available to do that? An agreement on what the story is allowed them to know what to emphasize on the track. Other filmmakers see story differently, or dissect story as myth and power, and therefore take a very different approach. I love the sound of Jean-Luc Godard’s films because it is a featured element in the argument. Film Socialisme begins with a line-up tone that moves from speaker to speaker around a 5.1 mix. It introduces his dialectic between sound and picture within the contemporary structure of multi-track films. It’s brilliant and very funny. </div>
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<b>MM: What is the most important topic you would want to talk about to make post sound better? </b></div>
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<b>HS:</b> Forcing USA corporations, either by massive tax penalties or heavy import tariffs, to hire the workers in their own country. Too many of our sound jobs are being outsourced. Germany has good unions, pays its workers well, and has an export rate second to none. The old saw that in-country labor produces products that can’t compete is obviously not true: Germany has a 7% trade surplus. The sad truth is that USA corporate profit is at an all time high, CEO salaries are at an all time high, and too many people are unemployed. Corporate contempt for basic decency is the primary problem at this moment in history. It will eventually change, one way or another. </div>
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<b>MM: Do you have any advice for anyone who is interested in a career in the sound dept? </b></div>
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<b>HS:</b> With the technology of audio, music, and picture in an ever-increasing cascade toward the infinitely complex, having the time to learn the programs, plug-ins, hardware, softward, picture formats, and optimal work-flow process, is itself becomming a full-time job. Having the mental space to discover why you want to do it, and what doing it even means, to you and to society, is something that young people should consider. This work used to be the wild west. Most of it, for the time being, now sits inside the corporate world. That is not a world that should be perpetuated. So then it becomes about making art, with no potentially viable means of making a living. Last quarter <b>Migration</b> streamed 2500 times and made 3 cents. So is this a risk you are willing to take? Do you see the world differently, and have something to say about it? If so – and now I’ll paraphrase Stanley Kubrick’s advice to young filmmakers – “Get a camera, as soon as you can, and start making films.”... or music, or soundscapes, or installation art. If you are meant to work on a handful of great films in your career, somehow, with luck, you will make it happen. </div>
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<b>MM: Silence is mentioned a lot when discussing sound. What was your approach in its usage? </b></div>
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HS: As John Cage pointed out, silence is never truly silent. But one must be silent in order to listen.
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[<a href="http://www.helikonsound.com/" target="_blank">www.helikonsound.com</a>]</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-46995544920199826132012-07-25T23:31:00.000+02:002019-07-03T10:58:51.730+02:00Lis10er is now available in the App Store<div style="text-align: justify;">
We would like to introduce you our brand new iPhone app called <b>Lis10er </b>(pronounced
Listener). It's a binaural audio augmented reality iPhone application that creates an
“augmented soundspace”, warping and mixing in realtime the device live
microphone with prerecorded imagined sounds and the elaborated version
of the real-time input, designed by U.S.O. Project (Matteo Milani,
Federico Placidi) and Tue Haste Andersen.</div>
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The app is a mobile installation that places the emphasis on the surfaces of the world in which we live. It contains <b>10</b>
themes: each one is a carefully composed “virtual place”, where the
sonic environment is encapsulated and transformed to invent a new
reality, mixing "Live" sounds and their relative aural context with
designed ones. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AjCrb3vgvLHpPE037DMo8Dd4q50NGwt2KcYlRHjAhvRhX6opnvkaZjYZd4AvTdRTzJ0SsGURRo_4rbHguOfrEqipKnaVyuTN3Cm0ZXUHI2Mqk7GR9f1HRvQrpRK8xsS6oR2OEA/s1600/Screen4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AjCrb3vgvLHpPE037DMo8Dd4q50NGwt2KcYlRHjAhvRhX6opnvkaZjYZd4AvTdRTzJ0SsGURRo_4rbHguOfrEqipKnaVyuTN3Cm0ZXUHI2Mqk7GR9f1HRvQrpRK8xsS6oR2OEA/s400/Screen4.png" width="400" /></a></div>
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<b>How It Works</b></div>
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<b>Step 1:</b> To get started you only need the earphones
or any other external headset with microphone.<br />
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<b>Step 2:</b> With the wet/dry slider you can blend the amount of the input source with the processed output.<br />
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<b>Step 3:</b> Swipe left and right to switch among 10
themes.<br />
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<iframe allow="autoplay" frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/2259217&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe>
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<i>Compatible with iPhone 3GS, iPhone 4, iPhone 4S. Requires iOS 5.0 or
later.</i><br />
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<b>What’s in the next versions:</b><br />
<ul>
<li>New Themes</li>
<li>Non linear selection and crossfading between Themes</li>
<li>Background recording</li>
<li>iTunes file transfer</li>
<li>Soundcloud integration</li>
<li>Support for iPhone’s built-in microphone</li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-11104233868345367432012-06-29T12:25:00.000+02:002012-11-30T09:07:39.159+01:00News: Sonic Screens 2012<b>U.S.O. Project</b> is happy to announce the selected artists for the <b>2012</b> edition of <a href="http://usoproject.blogspot.it/2011/12/call-for-works-sonic-screens-2012.html" target="_blank">Sonic Screens</a>, which will take place in Milan on November 2012 @ <a href="http://www.on-o.org/about.php" target="_blank">O’</a>.<br />
Here they are:<br />
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<a href="http://www.fonurgia.unito.it/wp/" target="_blank">Andrea Valle</a><br />
<b>Dispacci dal fronte interno</b><br />
<i>for Violin and Cello, spatialized electronics and printers </i><br />
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<a href="http://xoomer.virgilio.it/adiscipi/index.htm" target="_blank">Agostino Di Scipio</a><br />
<b>Two Sound Pieces with Repertoire String Music</b><br />
<i>for any number of bowed string instruments and live electronics</i><br />
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<a href="https://farm8.staticflickr.com/7188/6939367149_5b2b0e9af3_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://farm8.staticflickr.com/7188/6939367149_5b2b0e9af3_z.jpg" width="400" /></a></div>
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[photo courtesy of <a href="http://www.franzrosati.com/" target="_blank">Franz Rosati</a>]<br />
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The two works will be performed live by <a href="http://www.anatopalovic.com/" target="_blank">Ana Topalovic</a> & <a href="http://www.eduazadory.net/cms/" target="_blank">Èdua Amarilla Zádory</a> and will later be released (in the first months of 2013) as a digital download by <a href="http://www.synesthesiarecordings.com/" target="_blank">Synesthesia Recordings</a>.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-30387479.post-28623358068061946512012-06-04T10:11:00.000+02:002012-06-11T14:28:21.241+02:00OnMedia - GRM Tools Workshop<div style="text-align: justify;">
Milan - Saturday, June 9th 10:00 to 12:00 and 13:00 to 17:00 </div>
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Fifth round of the cycle, 'European centers of research on sound and new media' </div>
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<b>Focus FRANCE</b>: Ina-GRM_Groupe de Recherches Musicales, Paris</div>
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Guest speakers: <b>Emmanuel Favreau</b> (Chief Engineer for the Development of GRM Tools), <b>Francois Bonnet</b> (Research, Teaching and Curating activities) </div>
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<a href="http://www.inagrm.com/sites/default/files/imagecache/image_550/schaeffer-parmegiani.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://www.inagrm.com/sites/default/files/imagecache/image_550/schaeffer-parmegiani.jpg" width="400" /></a></div>
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[Pierre Schaeffer and Bernard Parmegiani, courtesy of Ina-GRM]</div>
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<a href="http://www.inagrm.com/" target="_blank">Ina-GRM</a> (Institut National de l'Audiovisual - Groupe de Recherches
Musicales) in Paris is a pioneering organization
for musique concrete, acousmatic and electro-acoustic music, whose
history dates back to the '50s, when it was founded by
Pierre Schaeffer. Always engaged in the development of creative
activity, research, preservation and dissemination in
field of music and recorded sound, the GRM is an experimental laboratory unique in the world. In response to
expectations and needs of musicians, composers and sound designers, it
is highly specialized in the development of a
range of innovative tools to treat and represent the sound: the <a href="http://www.inagrm.com/grm-tools-3" target="_blank">GRM Tools</a> and the <a href="http://www.inagrm.com/accueil/outils/acousmographe" target="_blank">Acousmographe</a>. The activities of music creation and
production are mainly grouped at Studio 116 in the <a href="https://fr.wikipedia.org/wiki/Maison_de_Radio_France" target="_blank">Maison de la Radio</a> in Paris.</div>
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<b>Grm Tools Workshop</b></div>
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Up to 10 participants.</div>
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Bring your own laptop and headphones.</div>
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The workshop is free and is held in Italian by Emmanuel
Favreau along with Francois Bonnet. During the seminar, after outlining a brief history, Emmanuel Favreau will explore the possibilities of digital sound processing with the latest
Tools developed by GRM; he will also deal with issues related on how to interact with the musician.</div>
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These notions
will be illustrated by demonstrations in real time and musical examples from the repertory of electroacoustic music.
After the workshop Francois Bonnet will present the lecture 'Music and sound in space, an introduction to multichannel compositions'. The meeting is open to
public, and will present the research activities of the Centre in Paris plays through spatialized listening sessions and projections.</div>
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For information and registration: <a href="mailto:on@on-o.org">on@on-o.org</a></div>
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<i>OnMedia is focused - from September 2011 and throughout 2012 - in
a wide range of events including a series of conferences dedicated to the most important European centers for research on multimedia sound,
art and technology, a series of workshops on subversive listening, presentation of international visual artists and authors who use different media and languages, concerts and performances.</i></div>
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[More info: <a href="http://www.on-o.org/detail.php?id=303&section_id=1" target="_blank">on-o.org</a>]</div>
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<b>Related Posts: </b></div>
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<ul>
<li><a href="http://usoproject.blogspot.it/2011/05/grm-tools-pt1-interview-with-emmanuel.html" target="_blank">An interview with Emmanuel Favreau</a></li>
<li><a href="http://usoproject.blogspot.com/2009/10/interview-with-christian-zanesi-pt-1.html" target="_blank">An interview with Christian Zanési</a></li>
<li><a href="http://usoproject.blogspot.com/2008/06/daniel-teruggi-grm-paris-novelty-of.html" target="_blank">Daniel Teruggi: the novelty of concrete music</a></li>
<li><a href="http://usoproject.blogspot.com/2009/04/bernard-parmegiani-sound-master.html" target="_blank">Bernard Parmegiani, a sound master</a> </li>
</ul>Unknownnoreply@blogger.com0