Audio Technologies for Music and Media is an international interdisciplinary conference that

focuses on the various aspects of audio, audiovisual and music technologies for music and
media, and, also, on the relationship between sound, music and image in both traditional and
new media.
After the success of ATMM 2012, the first international conference in Turkey in the fields of
audio, music and media, ATMM returns to Bilkent University on 31 October 1 November 2013.
Hosted by Department of Communication and Design, ATMM 2013 features a tightlypacked
program with a wider range of topics.
ATMM 2013 Steering Commitee
Ufuk nen (Bilkent University)
Teoman Pasinliolu (Independent Researcher)
Mustafa Ertan (Interelektro)
Ahmet Grata (Bilkent University)
Blent Bykolu (KV331 Audio)
Krat Pasinliolu (Voispectra)
ATMM 2013 Steering Commitee Associate Members
pek Altun (Bilkent University)
Bilge Mira Atc (Baheehir University)
Giray Bayer (Bilkent University)
Gerek Dorman (zdem Mzik)
Uur Satlm (Bilkent University)
ATMM 2013 Student Connecton Board
Yusuf Akura (Bilkent University)
Arda Eden (nn University)
Bora Uslusoy (Plato College of Higher Education)
Suat Vergili (9 Eyll University)
ATMM 2013 Review Board
Teoman Pasinliolu (Independent Researcher)
Cihan Ikhan (9 Eyll University)
Arda Eden (nn University)
Mahcem ztrk (Mziktek)
ATMM 2013 Assistants
Hasan ulu (Bilkent University)
Altu Karakurt (Bilkent University)
B. Lila zkazan (Bilkent University)
Gne Uyank (Bilkent University)
Ezgi . Ycel (Bilkent University)
Contact
Lennie Moore
Keynote Address
Stephen Harwood & Lennie Moore
Game Audio Theory and Practce
Aida Shirazi Performance
H. T. Dizdar itme Kayplar
T1 Sunumlar (Trke)
E1 Sessions (English)
NOMAD
Paul Devens
Recording Strategies I
Student Presentatons
12:30
13:00
13:30
14:00
14:30
15:00
15:30
16:00
16:30
17:00
17:30
10:00
10:30
11:00
11:30
12:00
12:30
13:00
13:30
14:00
14:30
15:00
15:30
16:00
16:30
17:00
17:30
18:00
Mehmet Uur Memi
Miks Semineri
T2 Sunumlar (Trke)
E2 Sessions (English)
Liz Teutsch - Berklee Valencia
Panel: Preparing for a Future in
Audio Technology
Pieter Snapper
Perspectves on Recording, Mixing,
and Mastering on Contemporary
Opera
Cem Tuncer
Seminer: Bas Gitar Tonu
E3 Sessions (English)
T3 Sunumlar (Trke) Medea Electronique
HR Stamenov
Sounds From the Sky
Paul Devens
Recording Strategies II
1000names
Student Presentatons
19:00 Beyond Reasoning (sergi al ve kokteyl / exhibiton opening recepton) & Marcus Schmickler
partcle/mater-wave/energy (performance / performans) Goethe Insttut, Ankara.
31 October Thursday / 31 Ekim Perembe 31 October Thursday / 31 Ekim Perembe
01 November Friday / 01 Kasm Cuma 01 November Friday / 01 Kasm Cuma
FFB - 022 Foyer / Fuaye FFB - 006 FFB - 005
FFB - 022 Foyer / Fuaye FFB - 006 FFB - 005
ATMM 2013 PROGRAM
ATMM 2013 PROGRAM
English:
ATMM 2013 keynote will be delivered by Lennie Moore who has been a proven force as an
accomplished composer, orchestrator and arranger of music for video games, film, and
television for 25 years. His credits include Star Wars: The Old Republic, Kinect Disneyland
Adventures, The Walking Dead Motion Comic, Watchmen Motion Comic (2008 G.A.N.G. award
winner), and Dirty Harry among many others.
Moore is not only a professional, but also an educator as well. He has developed the first
accredited degree program for Game Audio and Interactive Media at Pinnacle College, and also
developed and taught Composing for Video Games courses at the USC Thornton School of Music
and UCLA Extension.
Turkish:
ATMM 2013 ana konumacs (keynote) 25 yldr bilgisayar oyunlar, film ve televizyon iin
yapt mziklerle alannn duayenlerinden biri olan Lennie Moore olacak. Star Wars: The Old
Republic, Kinect Disneyland Adventures, The Walking Dead Motion Comic, 2008 G.A.N.G. dll
Watchmen Motion Comic ve Dirty Harry, Lennie Mooreun almalar arasnda yer alan
yapmlardan sadece birka tanesidir. Profesyonel almalar dnda eitimci kimliiyle de ne
kan alan Moore, Pinnacle Collegeda Game Audio & Interactive Media (Oyun Sesi ve
Etkileimli Medya) dalnda Amerika Birleik Devletlerindeki ilk akredite program gelitirmitir.
Moore, bunun yan sra UCLA Extension ve USC Thornton School of Music iin oyunlar ve
ses/mzik zerine eitli dersler tasarlam ve uygulamtr.
Keynote: Lennie Moore
[31 October Thursday / 31 Ekim Perembe, 12:30-14:00, FFB-022]
Gamecurious? Interested in the video game industry but unsure of what exactly it is that we do
here? In addition to sound design, composition, engineering, and production supervision, game
audio development requires skill sets that are rarely encountered in the more familiar realm of
sound for film and TV. Taking postproduction for traditional linear media as a point of
reference, this session will present the essential concepts and practical approaches used in the
creation of sound and music for video games (and other interactive virtual environments).
This session will be presented jointly by Stephen Harwood Jr. and Lennie Moore. Stephen
Harwood Jr is a composer, orchestrator and sound designer for video games and film. His credits
include Brothers in Arms: Road to Hill 30, Brothers in Arms: D-Day and Propaganda Lander
among many others. Harwood Jr has previously taught at New York University and worked as an
independent orchestrator for Greensboro Symphony Orchestra. He is currently an Adjunct
Professor of Game Audio at Mercy College and an Instructor of Game Audio at SAE Institute, New
York.
FEATURED EVENTS
FEATURED EVENTS
(English)
Game Audio Theory and Practce
Stephen Harwood Jr. & Lennie Moore
[31 October Thursday, 14:30-16:00, FFB-022]
Contemporary opera productionand classical recording in generalis fraught with challenges
not encountered in mainstream studio environments. We will look at how to frame the
problems, as well as specific technical solutions through the lens of two recent opera projects
Michael Ellison's "Say I Am You/Mevlana" and Kamran Ince's "The Judgment of Midas." We will
listen to the works at different stages of production, examining how certain technical and
musical decisions shape the overall impact of the recordings.
Pieter Snapper, the founder of the MIAM studios and cofounder of Babajim Istanbul Studios &
Mastering, is a mastering engineer, producer, and composer of contemporary classical and
electronic music. His works have been played in the U.S., Europe, and Asia. He has received
awards from BMI, ASCAP, UC Berkeley, the Union League Foundation, and commissions from the
Fromm Foundation at Harvard University, Yamaha Corporation of America, the ensemble Eighth
Blackbird (three time Grammywinners), and the Memphis Symphony Orchestra.
Perspectves on Recording, Mixing, and Mastering Contemporary Opera
Pieter Snapper
[1 November Friday, 14:30-16:00, FFB-022]
In its shortlived history, the field of audio technology has developed at a rapid pace. The
approach towards training in the profession has also modulated, and what began as an
apprenticebased system is now almost exclusively universitybased, with many programs
largely focused on tools and technology. In an industry where these tools are changing as rapidly
as the industry itself, is this model sustainable and appropriate? Furthermore, where is the
industry headed, and as educators, students, and professionals how can we best prepare
ourselves for it? This dynamic panel of educators from around the globe will address these and
other questions as we discuss the future trajectory of the exciting and evolving field of
professional audio. Panelists include (in alphabetical order) Arda Eden (Inn University,
Malatya, Turkey), Huseyin Hacihabiboglu (METU Informatics Institute, Ankara, Turkey), Stephen
Harwood Jr. (SAE Institute NYC and Mercy College, New York, U.S.A.), Lennie Moore (University
of California at Los Angeles (UCLA) Extension, California, U.S.A.) and Ufuk nen (Bilkent
University, Ankara, Turkey).
Liz Teutsch, the former Director of Center for Digital Imaging Arts at Boston University, is an
Associate Professor and the Assistant Director of Academic Technology at Berklee Valencia. She
teaches courses in music production and technology at the Valencia campus, which launched its
new Masters Degree in Music Technology Innovation this fall.
Preparing a Future in Audio Technology
Liz Teutsch
[1 November Friday, 12:30-14:00, FFB-022]
Miks Semineri
Mehmet Uur Memi
[1 Kasm Cuma, 10:30-11:30, FFB-022]
ATMM 2013, tannm ses mhendislerinden Mehmet Uur Memi tarafndan gerekletirilecek
olan miks atlyesine de ev sahiplii yapacak. skender Payda, Peter Murphy, Feridun Dzaa,
Volkan Baaran ve Ogn Sanlsoy, Mehmet Uur Memiin birlikte alt isimlerden bazlardr.
Bas Gitar Tonunu Etkileyen Faktrler
Cem Tuncer
[1 Kasm Cuma, 16:00-17:00, FFB-022]
ATMM 2013, Ankarann tannm bas gitaristlerinden Cem Tunceri konuk ediyor. Artun Ertrk,
Pamela, Volkan ktem, Dave Weckl gibi isimlerle alm olan Tuncer, bas gitar tonlarnn
kalitesini etkileyen faktrlerini ele alan bir seminer gerekletirecek.
Grltye Bal itme Kayb
Handan Turan Dizdar
[31 Ekim Perembe, 17:00-17:30, FFB-022]
Odyoloji uzman Handan Turan Dizdar iitme duyumuzu mercek altna alyor. Kulak anatomisi
ve iitme fizyolojisi gibi konunun en temel noktalar bata olmak zere akustik travma ve/veya
grltye bal iitme kayb ve insan sal zerindeki dier etkileri dnda sz konusu
durumlar iin uygulanan tedavi ve korunma yntemlerini paylaacak.
ETK NL KLER
ETK NL KLER
(Trke)
A Generatve Synthesis Drum Machine Model in Max/MSP
Y. Burak Tamer
Baheehir University
[31 October Thursday, 14:00-14:30, FFB-005]
This paper presents an interactive rhythm synthesis system implemented in Max MSP. The user
is expected to record four twosecond samples of audio into buffer. These sound samples are to
be used as the voices of the instrument in order to be finetuned and saved into presets at the
end of the process if desired. The system aims for instant interaction and the user is encouraged
to explore the sonic environment he/she is in or has access to. Once the samples are ready, the
user can generate rhythmic sounds in the determined BPM, play variations through the pattern
generator and play tempo variations via the tempo modulation modules. The system model
presented is built with four voices yet it is modular and can be expanded to cover a wider range
of voices and irregular meter generation.
The Functons of Music and Sound in Tarkovsky's Films
Metn olak
Cyprus Internatonal University
[31 October Thursday, 14:30-15:00, FFB-005]
The use of sound and music has caused several debates in filmmaking. While one group of film
directors asserts that the use of sound and music (especially music) increases the effects of
cinema, other group of directors propounds that its use decreases the strength of
cinematographic image and pulls it away from reality. Distinctions in views become especially
visible when the use of music is in question. Minimalist film directors, including Robert Bresson
and Ingmar Bergman, opposed the excessive use of music and saw and used it as the minimal
element of their film language. This point of view is shared by the Russian filmmaker Andre
Tarkovsky, who has a special status in the auteur film tradition. His thoughts about the
minimalist use of music and sound in cinema can be found in his seminal work Sculpting in
Time which contains his sincere ideas about life, art, culture and politics. His films, within this
perspective, confirm his views in this direction. At this point it must be stressed that while his
thoughts seem to contravene the excessive use of music, the soundtracks in his films become the
constitutive parts of the filmic narration within this minimalist usage. Typical examples are his
Solaris (1972) and Stalker (1979). This study examines the rationality behind the usage of
sound and music in Tarkovskys films. It focuses on the primary sound effects (especially in his
science fiction films) and the soundtracks of his films. In this context, especially his Solaris
(1972), Mirror (1975), Stalker (1979), and Nostalghia (1983) will be analyzed and compared.
PAPERS
PAPERS
(English)
E1 Sessions E1 Sessions
Kyma: Programming Environment for Sound
lker Ikyakar
Cloud 18 Productons
[1 November Friday, 10:00-10:30, FFB-006]
Kyma is one of the most powerful and profound audio production systems available today... And,
it's easy to learn. Musicians, students and professionals around the world use it. Its superb
sound quality, interactive processes, and ease of running complex algorithms in real time, make
it an ideal path towards professional problemsolving in sound design, post production, film
scoring, game development, sound installations, live performance, research, and any other
creative musical application. Anybody who is serious about sound should give this wonderful
environment a chance. One may approximate aspects of it by assembling numerous other tools
at ones disposal but, in the end, the workflow and "feel" with Kyma are different. Moreover,
Kyma itself is quite malleable, adjusting to the individual user's personality and needs, as long as
s/he commits to mastering it. Simply put, Kyma is less a product or tool and more a way of
working, a way of living the sound alchemist's reality. The longer one uses Kyma the more it
becomes ones personal sound design workstation.
A System in Max/MSP and Java For Matching the Tuning in the Recording
Y. Burak Tamer & Bar Bozkurt
Baheehir University
[1 November Friday, 10:30-11:00, FFB-006]
This paper presents a new tuner system implemented in Java. The main difference from existing
tuners is the use of one or more recordings as reference instead of theoretical presets. The
target here is to help the musician to tune her instrument as in one or more given recordings.
For that purpose, first, the fundamental frequency analysis is performed for the given
recordings. Then, pitch distributions are obtained and matched to get an overall distribution
plot. Finally, on the main display panel of the tuner, the realtime frequency estimate from the
input signal is plotted together with the pitch distribution. The musician adjusts her instrument
to match the frequency estimate of the input signal with a peak of the histogram to perform the
tuning operation.
Band Ant: Music Made By an Ant Colony
Bura Karabey
METU Informatcs Insttute
[1 November Friday, 11:00-11:30, FFB-006]
Music composed and generated by life forms other than human beings have been investigated in
numerous studies. Within my work Band Ant the inherent rhythm, harmony and energy
within the movements and interactions of the members of an ant colony have been analyzed by
digital image processing techniques and utilized as the basis of a musical outcome. At the same
time, the swarm intelligence that forms the basis of these activities is mapped onto the domain
of music so that one can experience evolution at work as an artist.
E2 Sessions E2 Sessions
Vocoding Techniques in Audio Applicatons
Krat Pasinliolu
Voispectra
[1 November Friday, 16:00-16:30, FFB-005]
Originally being invented for enhancing the voicecarrying capabilities of the telephone lines,
potential usage of the vocoder in music productions was recognized in the following years.
Initial experiments performed with the vocoder then led to the progress of the electronic music,
and starting from the 70s it was used in numerous albums. Due to its unique sound and
popularity, the vocoder is still a widely used effect in todays music productions from various
genres. Obviously, creative usage of the vocoder requires some knowledge about the working
principle behind it, whether it is a hardware unit or software plugin. In this paper, details of the
audio processing approach used in the vocoder are investigated with the corresponding typical
parameters and application techniques.
Aliasing in Audio Applicatons and Soluton Approaches
Teoman Pasinliolu
Independent Researcher
[1 November Friday, 16:30-17:00, FFB-005]
Aliasing is an unwanted side effect when sampling analog signals if the sampling rate is not
adequate for covering the complete bandwidth or conversely the signal to be sampled has a
wider bandwidth for a given sampling rate. In this paper, the aliasing phenomenon is discussed
in detail and the necessary techniques used for eliminating the spurious signals formed as a
result of aliasing are overviewed. The simplest rule of thumb for sampling a continuous signal is
to set the sampling frequency at least twice as much as the highest frequency component
appearing in the signal. This is known as the Nyquist Criteria and the highest frequency allowed
is the Nyquist Frequency which is half the sampling frequency. The criteria is the condition used
for the lossless recovery of the signal when converted to analog from digital form. In practice,
analog signals are digitized using analogtodigital converts (ADC) by sampling, quantizing and
encoding the signal successively, and are reproduced by digitaltoanalog converters (DAC) using
a reconstruction or antiimaging filter. ADCs usually come with one or more sampling rate
options for the user depending on the application area and specific needs. Any given sampling
rate specifies the maximum allowable frequency that can be reproduced correctly without any
disturbance by the aforementioned Nyquist limit. The socalled AntiAliasing Filter structure is
widely used for taking care of the aliasing phenomenon occurring in audio applications as well
as in other areas requiring sampling process for that matter.
E3 Sessions E3 Sessions
Reklam letiminde Kullanlan Mzik Tasarmnn Hedef Kitle zerindeki Rol
Zekiye Tamer Gencer
Sivas Cumhuriyet niversitesi
[31 Ekim Perembe, 16:00-16:30, FFB-005]
Toplumsal yasamn bir parcas olarak incelenen ve degerlendirilen iletisim, bireylerin yasam
sureclerinde ihtiyacduyduklar bir kavramdr. Iletisime egitimden saglga, aile yasantsndan
tuketime, haber ve bilgi almadan ticari sureclere kadar hayatn her alannda gereksinim
hissedilmektedir. Ayrca bireyin gelismesinde ve degismesinde de iletisim onemli rol
oynamaktadr. Bu baglamda gelisen teknolojiyle beraber evrende bulunan tum ses, soz, sembol
ve isaretler bir iletiim parcas olarak karsmza ckmaktadr. Bu calsma kapsamnda iletisimin
ticari boyutunda onemli bir yeri olan reklam iletisiminde kullanlan gorsellik ve muzik
incelenmistir. Farkl arastrmalarla ortaya konan reklam muziklerinin etkinligi konusunda
yaplan bu betimleyici calsma, sunulan literatur taramas ve reklamn muzikle olan iliskisinde
onemli yeri olan reklam cngllarnn acklanmas uzerine kurgulanmstr.
Mzik Teknolojisi Eitminde Trkiye'deki Devlet niversitelerinde Uygulanan Modeller
zerine Bir nceleme
Server Acim
nn niversitesi Devlet Konservatuvar
[31 Ekim Perembe, 16:30-17:00, FFB-005]
Trkiyedeki devlet niversitelerinde Mzik Teknolojisi Eitimi, birbirinden farkl eitim
modelleri ve renci seiminde uygulanan kriterler balamnda birbirinden farkl sonular
dourmaktadr. Ayrca Mzik Teknolojisi Eitimi, Yksekretim Kurumu tarafndan yeni yeni
tannmaya balanan bir eitim modeli olmaya balamtr. Bu olgular gz nne alndnda,
Trkiyedeki devlet niversitelerinde Mzik Teknolojisi alannda eitim vermeye balayan ilgili
kurumlarda gelien yapsal dokularda ve renci seimi kriterlerinde uygulanan yntemler,
eitli sonular dourmutur. Bu almada, bu sonularn artlar ve eksileri masaya
yatrlacaktr.
B LD R LER
B LD R LER
(Trke)
T1 Sunumlar T1 Sunumlar
Trkiye'de Klasik ve ada Mzik Prodksiyonlarnda Ses Mhendisi ile Sanat Arasndaki
letim
Can Karadoan
T TMDK & MIAM
[31 Ekim Perembe, 17:00-17:30, FFB-005]
lerleyen kayt teknolojisiyle birlikte evrilen mzik yapm yntemleri gnmz sanatlarn
olumlu veya olumsuz ekilde etkilemektedir. Yllarca canl icra konusunda tecrbe biriktirmi
bir icra sanats bile stdyo kaydna girdii zaman skntlar ekebilmektedir. Ayn ekilde
olduka fazla kayt tecrbesi olan bir sanat ise teknolojinin olanaklarndan tartmal bir
ekilde faydalanabilmektedir. Sanat ynetmeni (producer) rolnn tam olarak doldurulamad
birok kayt projesinde, bu roln vermesi gereken birok karar mecburen ses mhendisine
yklmakta olup salksz sonulara yol aabilmektedir. Bu bildiride, ite bu skntl iletiim
sorununun zme yaklatrlabilmesi iin ok kanall klasik veya ada mzik kayt
projelerinde iki esas aktr olan ses mhendisi ve sanatnn zerine den grevler ve de bu
aamaya gelene kadar alacaklar mzik eitimi iin neriler tartlacaktr.
Tn Aratrmalarnda Sistematk ve Yeniliki Bir Yaklam htyac
Sair Sinan Kestelli
T MAM
[1 Kasm Cuma, 10:00-10:30, FFB-005]
Tn, sklkla sesin perdesi ve dinamii dnda kalan ve bir ses kaynann dierinden ayrt
edilebilmesini salayan zellikleri olarak tanmlanr. Bu tanm, gerek tnnn 'ne olduundan
ziyade ne olmadn' belirtmesi, gerekse tny sadece ses kayna zerinden aklamasyla
bulank bir kavramsal ereveye sahiptir. Tn ayn zamanda, teknolojinin hzl geliimi sayesinde
sesin ilenebilmesi asndan neredeyse snrsz olanaklar sunan stdyolarda sesin en ok
tartlan zellii haline gelmitir. Ancak, bu tartmalarda, genellikle kiisel deneyimlere dayal
bir terminoloji kullanlmakta ve profesyoneller aras iletiimde kopukluklar yaanmaktadr.
Gerek tnnn ok boyutlu ve karmak yapsnn gz nne alnarak yeniden tanmlanmas,
gerek bu iletiim kopukluklarnn giderilerek tnyla ilgili ortak bir terminoloji oluturulmas,
gerekse son dnem aratrmalarnda iitsel alg yannda; grsel ve kinestetik algyla btnlkl
ekilde anlamlandrld kantlanan tn kavramnn, son dnemde ortaya kan teknolojik
aralar kullanlarak ve ok disiplinli bir ekilde aratrlmasyla, tn almalar sistematik hale
getirilebilir ve berrak bir kavramsal ereveye oturtulabilir.
T2 Sunumlar T2 Sunumlar
Mikrotonal Perdelerin MIDI le Seslendirilmesi: Bir Max/MSP almas
Serdar elik & Arda Eden & Glay Karc
Cumhuriyet niversitesi & nn niversitesi & Erciyes niversitesi
[1 Kasm Cuma, 10:30-11:00, FFB-005]
Bilgisayar ile mzik ilikisi iinde ok nemli bir yere sahip olan MIDI gnmzde sadece
tampare perde sistemini kullanan tonal mzik iin kullanlabilir durumdadr. Dolaysyla, Trk
makam mziininde iinde bulunduu pek ok mikrotonal perde sisteminin MIDI'ye
uyarlanmas ve mikrotonal perde sistemlerinin Digital Audio Workstation'lar ile kullanlmas
mmkn deildir. Aratrmamzda mikrotonal perdelerin MIDI ile seslendirilmesi ve Digital
Audio Workstation yazlm iinde kullanlabilmesine ynelik Max/MSP tabanl bir mikrotonal
MIDI arayz programladk. MIDI arayznn programlanmasnda kullanlan MIDI Channel
Voice mesajlaryla oluturulan algoritma, MIDI arayznn sunumu, mikrotonal perdeleri
seslendirmedeki yeterlilii ve nasl kullanlaca gibi temel konular aratrmamzn ieriini
oluturur.
Video Oyun Sektrnde Kullanlan Ses Tasarm Teknikleri, Sanal Mzisyenlik Kavram ve
Deien Mzisyenlik Pratkleri: Rocksmith Oyunu rnei
Suat Vergili & Aykut erezciolu
Dokuz Eyll niversitesi
[1 Kasm Cuma, 11:00-11:30, FFB-005]
Video oyun sektrnde gelien prodksiyon teknikleri ile giderek daha kaliteli soundtrackler
olumakta, sanal deneyimin baars ve gerekilii artmaktadr. Kullanlan prodksiyon yntem
ve tekniklerindeki gelimeler farkl trlerde oyunlarn da nn am, oyunseverlere daha nce
yaamadklar deneyimleri yaama imkann salamtr. Bu bildiride Rocksmith oyunu zelinde
ncelikle video oyun sektrndeki ses tasarm teknikleri zerine bilgiler verilecek, daha sonra
sanal gereklik ortamnda mzik icras, mziksel becerilerin geliimi ve bu sanal gerekliin bir
sanal deneyime ne ekilde dnt anlalmaya allacaktr.
T3 Sunumlar T3 Sunumlar
Zaman Kodlu Senkron Sorunlarnn Kkeni
Cihan Ikhan
Dokuz Eyll niversitesi
[1 Kasm Cuma, 14:00-14:30, FFB-005]
Senkron (egdm, synchronization), donanmlar arasnda uygun adm hareketi salayan bir
iletiim, sistemin bir merkezden ynetilmesine olanak tanyan makinalar aras bir protokoldr.
Egdm sayesinde iki ya da daha fazla donanm zaman ve hz deerlerinde anlap uyum iinde
alr veya almas beklenir; nk zellikle youn ierikli profesyonel ses kayt
uygulamalarnda teoriyle pratik her zaman rtmeyebilir ve egdm kaynakl ciddi sorunlar
ortaya kar. Bu sorunlarn pek ounun balant, ayar ya da kullanm hatasndan ortaya kt
dnlse de aslnda hi de azmsanmayacak kadar egdm tipinden, seilen protokoln
olaan yapsndan kaynaklanr. Bu alma, teorik olarak hibir sorun olmayaca beklentisiyle
yola klan uygulamalarda bile yalnzca seilen zaman kodlu (time code) egdmn dijital
yaps gerei ortaya kan ciddi sorunlar, sorunlarn kayna olan protokollerin iyaplar ve
zm nerilerini iermektedir. Sz edilecek protokoller, uygulamalarda en ok kullanld
tespit edilen ve geleneksel zaman kodu SMPTEnin MIDI protokolndeki temsilcisi MTC ve
trevleriyle (tam kare, MMC vs.), zel bir otomasyon egdm sistemi olan HUIdir. zm iin
otomasyonun devreye girdii HUIyi bir tarafa brakacak olursak, MTCnin ana hatlaryla bir
eyrek kare mesaj olmas, MMCnin ise iinde tam kare MTCyi barndrmasna ramen klasik
bir SysEx yaps tayor olmas, zaman kodlu egdm sorunlarnn en nemli kkenidir.
Kontrol Odalarnda Tasarm Yaklamlar
smet Emre Ycel
Sakarya niversitesi Devlet Konservatuvar
[1 Kasm Cuma, 14:30-15:00, FFB-005]
Kontrol odalar 1950li yllarn ortalarna kadar ses stdyolarnn bir kenarnda gelisigzel yer
almaktayd. Stereo kaydn popler olmaya basladg ve tketiminin arttg 50li yllarn
sonlarnda nemi artan kontrol odalar, tasarm yaklasmlar asndan o yllardan gnmze
degisiklik geirerek gelmistir. LEDE, RFZ, NonEnvironment, CID, ESS gibi kontrol odas
tasarmlarndaki farkl yaklasmlarn ortak zelligi miks mhendisine kaydn aslna sadk
kalacak sekilde bir dinleme ortam saglamaktr. Bu yazda kontrol odalarnn gemiten
gnmze tasarm yaklamlarnn, mevcut ve ulalabilen kaynaklar nda ortaya konmas
amalanmtr.
Mobile Applicatons as the Future Music Playback Medium
Ozan Sarer
ITU MIAM, PhD Student
[31 October Thursday, 16:30-17:00, Foyer]
This session is the demonstration of the ideas and software that was developed for Sarer's
master thesis, titled Mobile Applications as the Future Music Playback Medium. Today's mobile
systems are capable enough to process and mix multitrack audio reminiscent of digital audio
workstations found in recording studios and music production facilities. This capability of
onthefly mixing leads the way to music playback in the form of mobile applications which
allow user interaction and dynamic output. With this new form of music playback medium,
many new ways of dynamic playback scenarios which can result in augmented user experience
become a possibility. This thesis aims to be a guide to the development of future frameworks
and standards by discussing the possibilities, benefits, problems and design considerations
associated with the next generation of music playback systems that use mobile applications as
their medium.
Ensample: Practsing Recordings as Musical Instruments
Sair Sinan Kestelli
ITU MIAM, PhD Student
[1 November Friday, 15:30-16:00, Foyer]
This session is the demonstration of Ensample, a custombuilt, sample based digital musical
instrument which uses positionmeters, infrared proximity sensors, pedals and common MIDI
devices for its controller part and various tools created with Max/MSP and Ableton Live for its
sound generation part. Hardware part of the instrument consists of a Sensor System Eobody 2
8M Sensor Box, 3 Positionmeters, 2 Infrared Proximity Sensors and 1 Sustain Pedal, 1 Novation
Launchpad and 1 MAudio XSession Pro midi controller. Software part of the instrument was
designed on Cycling 74' s Max Software and Ableton Live. The main idea is to extract timbral,
rhythmic and melodic possibilities out of a digital recording and use these possibilities to enable
the practice of sound recordings as musical instruments through improvisations, compositions
and performances for various samples and controllers.
Turning Points
Aida Shirazi
[31 October Thursday, 16:30-17:00, FFB-022]
In her own words: "This work consists of five excepts from the very first musics I have heard in
my life. They are so familiar that I cannot really decide whether they are a part of me, or I belong
to them! My intention for choosing this collection was association of each of these musics with a
milestone of my life. In other words, these musics narrate the (literally) turning points of my
life."
STUDENT PRESENTATI ONS
STUDENT PRESENTATI ONS
PERFORMANCE
PERFORMANCE
Remote: Relocating Sound project is developed to trace the new mental maps through
soundart. In a period in which geographical positioning is losing its importance, the project
aims to question how the production which focuses on soundart in Turkey, Germany, Bulgaria,
and Greece position itself.
Remote: Relocating Sound project creates platforms of discussion on various subjects related
with the current focusing points of contemporary soundart milieu. The expressive potentials of
soundart performances, sonification of scientific data, interpretation of remote information are
some of the topics of presentations, workshops, and performances.
Remote: Relocating Sound, curated by Baak enova, is a joint project of ArtUP!, NOMAD and
Bilkent University.
Participants of the project are Marcus Schmickler (Germany), HR Stamenov (Bulgaria), 1000
names (Bulgaria), Medea Electronique (Greece), and NOMAD (Turkey).
NOMAD: Erhan Muratolu - Emre Erkal - Baak enova
[31 October Thursday, 14:00-14:30, FFB-006]
NOMAD was founded in 2002 as an independent formation and registered as an association in
2006. NOMAD aims to produce and experiment with new patterns in the digital art sphere by
using the lenses of various other disciplines. NOMAD's production network aims to build strong
connections across territorial borders through digital cultureoriented projects; initially in
Europe and the Middle East, then in other areas. The main goal of these projects is to establish a
productive communication channel that facilitates access to new information resources. Since
2002, NOMAD has developed numerous local and international projects, including festivals,
exhibitions, performances, multimedia events, experimental film screenings, lectures, panels,
and publications. For the last few years NOMAD has produced one or two projects per year as
opposed to the extensive production rate from 2002 to 2008. Most recently, NOMAD has been
focusing on archiving and publishing as another mode of operating that has a less immediate
output. http://www.nomadtv.net
Recording Strategies Day 1
Paul Devens
[31 October Thursday, 16:00-17:00, FFB-006]
A microphone plays different roles, in all its variations from instrument, filter, snapshot medium,
broadcaster to telescope, magnifying glass, etc. Often it is a metaphor; more often it's an
intermediate in a power relation. What does it mean when the recording microphone is
introduced in an everyday environment of people who don't expect it, and the recordist has total
freedom to manipulate the recordings? The workshop will reflect on this by given examples
from contemporary culture and works from the art practise of Paul Devens. On the first day of
the workshop, there will be an introduction, reflecting on the techniques and theories. Then, a
small assignment will be handed out.
REMOTE: RELOCATI NG SOUND
REMOTE: RELOCATI NG SOUND
Recording Strategies Day 2
Paul Devens
[1 November Friday, 16:00-17:00, FFB-006]
On the second day of the workshop, the assignment will be discussed. Please bring recording
equipment such as videocameras, voice recorders, phones with a recording function, etc.
Medea Electronique
[1 November Friday, 14:00-15:00, FFB-006]
Medea Electronique compromising of Manolis Manousakis (Sound Artist), Michael Larsson
(Video Artist), Ioanna Kambylafka (Performer), Kleopatra Korai (Animator), Yannis Lolis (Video
Artist Designer), Christos Laskaris (Painter), Tim Wart (Composer), Haris Germanidis (Video
Artist), Panatiotis Goubouros (Animator), Eric Lewis (Improviser), Theodoris Zioutos
(Improviser / Sound Technician), Aggeliki Poulou (Curator) presents some selected works.
These works include Soundscapes/Landscapes (Interactive AV Installation, 2013), Beyond
Reasoning (Video Installation, 2012), Koumaria Residency 20092013, EPIC (Video Art2012),
Electric Nights (Electronic Arts Festival, 2012), Fragments of the Unseen (Interactive
Performance, Video Installation 20102012), EMW (Electronic Arts Festival, 2010), and
Monotonia (Video Installation, 2010).
Sounds From the Sky
HR Stamenov
[1 November Friday, 15:00-16:00, FFB-006]
The interaction of scientific experiments and media impressionism will be traced through the
collaboration of two artists which resulted in a new media work. In 1979 Alzek Misheff working
with the group for Mathematic Calculation at the Institute of the National Research Council in
Pisa created a sound interpretation of the color slides from Andromeda Galaxy. The experiment
and performance using and disseminating sounds of a cosmic origin was realized in Milan. In
2011 HRStamenov installed the artwork Space 0 Space in Venice. Using high voltage lighting
equipment and powerful sound, he reproduced a thunderstorm with lightning inside a 17th
century palazzo. The cooperation between Stamenov with his experiments to "capture and
control natural phenomena, and Misheff with the aforementioned and other experiments, led to
the media performance The Nightmare of Prometheus (2011).
1000names
[1 November Friday, 17:00-18:00, FFB-006]
Long before the current wave of Russian and Eastern European 'beats and glitch' producers,
Bulgarian duo 1000names were in at the foundation of the sound, debuting with the now classic
Melonball Bounce alongside Rustie on Beatnicks Vol 1 in 2007. Taking their name from an Anish
Kapoor sculpture, 1000names is identifiably part of the global beats scene. 1000names presents
some samples from their collection.
Exhibiton: Medea Electronique: "Beyond Reasoning"
[31 October Thursday, 19:00 (opening and recepton), Goethe-Insttut]
Beyond Reasoning is a four channel audio visual installation piece inspired by Attalis work
Noise. Noise is a resonance that interferes with the audition of a message in the process of
emission. It is any disruption of any social process, any source of pain. Noise necessarily
produces resistance in the mind, creating a critical distance via a body/mind rupture.
In Medea Electroniques Beyond Reasoning, noise represents the inability to express any
emotion of resistance. The reaction of the four characters (who stand defenseless in front of the
camera) to the soundtrack represents their failure to react against the establishment. In large
the project is inspired by the recent economic crisis and the subsequent crisis in moral and
values
Performance: Marcus Schmickler "partcle/mater-wave/energy"
[31 October Thursday, 19:00, Goethe-Insttut]
For his performance, Schmickler shows compositions based on sonification: Bonn Patternization
is based on astrophysical data that asks the question: "What does it sound like when galaxy
clusters of 30 objects reciprocally influence each other by means of gravitation?". Using data
gathered by researchers at Germanys Argelander Institute of Astronomy, Schmickler will collide
first two, then three simulated galaxies.
Another composition is based on sonifications of contemporary mathematics. Is it possible to
perceive changes in a society through changes in its music? Is it possible to understand
contemporary music through its implicit relationships with money? And how better could we
describe the disciplines of music and economics than through mathematics, their common
foundation?