Audio Technologies for Music and Media is an international interdisciplinary conference thatfocuses on the various aspects of audio, audiovisual and music technologies for music andmedia, 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 ofaudio, music and media, ATMM returns to Bilkent University on 31 October – 1 November 2013.Hosted by Department of Communication and Design, ATMM 2013 features a tightly-packedprogram with a wider range of topics.ATMM 2013 Steering CommitteeUfuk Önen (Bilkent University)Teoman Pasinlioğlu (Independent Researcher)Mustafa Ertan (Interelektro)Ahmet Gürata (Bilkent University)Bülent Bıyıkoğlu (KV331 Audio)Kürşat Pasinlioğlu (Voispectra)ATMM 2013 Steering Committee Associate Membersİpek Altun (Bilkent University)Bilge Miraç Atıcı (Bahçeşehir University)Giray Bayer (Bilkent University)Gerçek Dorman (Özdem Müzik)Uğur Satılmış (Bilkent University)ATMM 2013 Student Connection BoardYusuf Akçura (Bilkent University)Arda Eden (İnönü University)Bora Uslusoy (Plato College of Higher Education)Suat Vergili (9 Eylül University)

ATMM 2013 Review BoardTeoman Pasinlioğlu (Independent Researcher)Cihan Işıkhan (9 Eylül University)Arda Eden (İnönü University)Mahcem Öztürk (Müziktek)ATMM 2013 AssistantsHasan Çulu (Bilkent University)Altuğ Karakurt (Bilkent University)B. Lila Özkazanç (Bilkent University)Güneş Uyanık (Bilkent University)Ezgi İ. Yücel (Bilkent University)Contact

Lennie MooreKeynote Address

Stephen Harwood & Lennie Moore“Game Audio Theory and Practice”

Aida Shirazi Performance

H. T. Dizdar “İşitme Kayıplar”

T1 Sunumlar (Türkçe)

E1 Sessions (English)NOMAD

Paul Devens“Recording Strategies I” Student Presentations

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Mehmet Uğur MemişMiks Semineri

T2 Sunumlar (Türkçe) E2 Sessions (English)

Liz Teutsch - Berklee ValenciaPanel: “Preparing for a Future inAudio Technology”

Pieter Snapper“Perspectives on Recording, Mixing,and Mastering on ContemporaryOpera”

Cem TuncerSeminer: “Bas Gitar Tonu” E3 Sessions (English)

T3 Sunumlar (Türkçe) Medea Electronique

HR Stamenov“Sounds From the Sky”

Paul Devens“Recording Strategies II”

1000names

Student Presentations

19:00 “Beyond Reasoning” (sergi açılışı ve kokteyl / exhibition opening reception) & Marcus Schmickler“particle/matter-wave/energy ” (performance / performans) Goethe Institut, Ankara.

31 October Thursday / 31 Ekim Perşembe31 October Thursday / 31 Ekim Perşembe

01 November Friday / 01 Kasım Cuma01 November Friday / 01 Kasım Cuma

FFB - 022 Foyer / FuayeFFB - 006FFB - 005

FFB - 022 Foyer / FuayeFFB - 006FFB - 005

ATMM 2013 PROGRAMATMM 2013 PROGRAM

English:ATMM 2013 keynote will be delivered by Lennie Moore who has been a proven force as anaccomplished composer, orchestrator and arranger of music for video games, film, andtelevision for 25 years. His credits include Star Wars: The Old Republic, Kinect DisneylandAdventures, The Walking Dead Motion Comic, Watchmen Motion Comic (2008 G.A.N.G. awardwinner), and Dirty Harry among many others.Moore is not only a professional, but also an educator as well. He has developed the firstaccredited degree program for Game Audio and Interactive Media at Pinnacle College, and alsodeveloped and taught Composing for Video Games courses at the USC Thornton School of Musicand UCLA Extension.Turkish:ATMM 2013 ana konuşmacısı (keynote) 25 yıldır bilgisayar oyunları, film ve televizyon içinyaptığı müziklerle alanının duayenlerinden biri olan Lennie Moore olacak. Star Wars: The OldRepublic, Kinect Disneyland Adventures, The Walking Dead Motion Comic, 2008 G.A.N.G. ödüllüWatchmen Motion Comic ve Dirty Harry, Lennie Moore’un çalışmaları arasında yer alanyapımlardan sadece birkaç tanesidir. Profesyonel çalışmaları dışında eğitimci kimliğiyle de öneçıkan alan Moore, Pinnacle College’da “Game Audio & Interactive Media” (Oyun Sesi veEtkileşimli Medya) dalında Amerika Birleşik Devletleri’ndeki ilk akredite programı geliştirmiştir.Moore, bunun yanı sıra UCLA Extension ve USC Thornton School of Music için oyunlar veses/müzik üzerine çeşitli dersler tasarlamış ve uygulamıştır.

Keynote: Lennie Moore[31 October Thursday / 31 Ekim Perşembe, 12:30-14:00, FFB-022]

Game-curious? Interested in the video game industry but unsure of what exactly it is that we dohere? In addition to sound design, composition, engineering, and production supervision, gameaudio development requires skill sets that are rarely encountered in the more familiar realm ofsound for film and TV. Taking post-production for traditional linear media as a point ofreference, this session will present the essential concepts and practical approaches used in thecreation 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. StephenHarwood Jr is a composer, orchestrator and sound designer for video games and film. His creditsinclude Brothers in Arms: Road to Hill 30, Brothers in Arms: D-Day and Propaganda Landeramong many others. Harwood Jr has previously taught at New York University and worked as anindependent orchestrator for Greensboro Symphony Orchestra. He is currently an AdjunctProfessor of Game Audio at Mercy College and an Instructor of Game Audio at SAE Institute, NewYork.

FEATURED EvENTSFEATURED EvENTS(English)

Game Audio Theory and PracticeStephen Harwood Jr. & Lennie Moore[31 October Thursday, 14:30-16:00, FFB-022]

Contemporary opera production—and classical recording in general—is fraught with challengesnot encountered in mainstream studio environments. We will look at how to frame theproblems, 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 willlisten to the works at different stages of production, examining how certain technical andmusical decisions shape the overall impact of the recordings.Pieter Snapper, the founder of the MIAM studios and co-founder of Babajim Istanbul Studios &Mastering, is a mastering engineer, producer, and composer of contemporary classical andelectronic music. His works have been played in the U.S., Europe, and Asia. He has receivedawards from BMI, ASCAP, UC Berkeley, the Union League Foundation, and commissions from theFromm Foundation at Harvard University, Yamaha Corporation of America, the ensemble EighthBlackbird (three time Grammy-winners), and the Memphis Symphony Orchestra.

Perspectives on Recording, Mixing, and Mastering Contemporary OperaPieter Snapper[1 November Friday, 14:30-16:00, FFB-022]

In its short-lived history, the field of audio technology has developed at a rapid pace. Theapproach towards training in the profession has also modulated, and what began as anapprentice-based system is now almost exclusively university-based, with many programslargely focused on tools and technology. In an industry where these tools are changing as rapidlyas the industry itself, is this model sustainable and appropriate? Furthermore, where is theindustry headed, and as educators, students, and professionals how can we best prepareourselves for it? This dynamic panel of educators from around the globe will address these andother questions as we discuss the future trajectory of the exciting and evolving field ofprofessional audio. Panelists include (in alphabetical order) Arda Eden (Inönü University,Malatya, Turkey), Huseyin Hacihabiboglu (METU Informatics Institute, Ankara, Turkey), StephenHarwood Jr. (SAE Institute NYC and Mercy College, New York, U.S.A.), Lennie Moore (Universityof California at Los Angeles (UCLA) Extension, California, U.S.A.) and Ufuk Önen (BilkentUniversity, Ankara, Turkey).Liz Teutsch, the former Director of Center for Digital Imaging Arts at Boston University, is anAssociate Professor and the Assistant Director of Academic Technology at Berklee Valencia. Sheteaches courses in music production and technology at the Valencia campus, which launched itsnew Master’s Degree in Music Technology Innovation this fall.

Preparing a Future in Audio TechnologyLiz Teutsch[1 November Friday, 12:30-14:00, FFB-022]

Miks SemineriMehmet Uğur Memiş[1 Kasım Cuma, 10:30-11:30, FFB-022]

ATMM 2013, tanınmış ses mühendislerinden Mehmet Uğur Memiş tarafından gerçekleştirilecekolan miks atölyesine de ev sahipliği yapacak. İskender Paydaş, Peter Murphy, Feridun Düzağaç,Volkan Başaran ve Ogün Sanlısoy, Mehmet Uğur Memiş’in birlikte çalıştığı isimlerden bazılarıdır.Bas Gitar Tonunu Etkileyen FaktörlerCem Tuncer[1 Kasım Cuma, 16:00-17:00, FFB-022]

ATMM 2013, Ankara’nın tanınmış bas gitaristlerinden Cem Tuncer’i konuk ediyor. Artun Ertürk,Pamela, Volkan Öktem, Dave Weckl gibi isimlerle çalışmış olan Tuncer, bas gitar tonlarınınkalitesini etkileyen faktörlerini ele alan bir seminer gerçekleştirecek.Gürültüye Bağlı İşitme KaybıHandan Turan Dizdar[31 Ekim Perşembe, 17:00-17:30, FFB-022]

Odyoloji uzmanı Handan Turan Dizdar işitme duyumuzu mercek altına alıyor. Kulak anatomisive işitme fizyolojisi gibi konunun en temel noktaları başta olmak üzere akustik travma ve/veyagürültüye bağlı işitme kaybı ve insan sağlığı üzerindeki diğer etkileri dışında söz konusudurumlar için uygulanan tedavi ve korunma yöntemlerini paylaşacak.

ETKİNLİKLERETKİNLİKLER(Türkçe)

A Generative Synthesis Drum Machine Model in Max/MSPY. Burak TamerBahçeşehir University[31 October Thursday, 14:00-14:30, FFB-005]

This paper presents an interactive rhythm synthesis system implemented in Max MSP. The useris expected to record four two-second samples of audio into buffer. These sound samples are tobe used as the voices of the instrument in order to be fine-tuned and saved into presets at theend of the process if desired. The system aims for instant interaction and the user is encouragedto explore the sonic environment he/she is in or has access to. Once the samples are ready, theuser can generate rhythmic sounds in the determined BPM, play variations through the patterngenerator and play tempo variations via the tempo modulation modules. The system modelpresented is built with four voices yet it is modular and can be expanded to cover a wider rangeof voices and irregular meter generation. The Functions of Music and Sound in Tarkovsky's FilmsMetin ÇolakCyprus International 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 filmdirectors asserts that the use of sound and music (especially music) increases the effects ofcinema, other group of directors propounds that its use decreases the strength ofcinematographic image and pulls it away from reality. Distinctions in views become especiallyvisible when the use of music is in question. Minimalist film directors, including Robert Bressonand Ingmar Bergman, opposed the excessive use of music and saw and used it as the minimalelement of their film language. This point of view is shared by the Russian filmmaker AndreTarkovsky, who has a special status in the ‘auteur film’ tradition. His thoughts about theminimalist use of music and sound in cinema can be found in his seminal work ‘Sculpting inTime’ which contains his sincere ideas about life, art, culture and politics. His films, within thisperspective, confirm his views in this direction. At this point it must be stressed that while histhoughts seem to contravene the excessive use of music, the soundtracks in his films become theconstitutive parts of the filmic narration within this minimalist usage. Typical examples are hisSolaris (1972) and Stalker (1979). This study examines the rationality behind the usage ofsound and music in Tarkovsky’s films. It focuses on the primary sound effects (especially in hisscience 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.

PAPERSPAPERS(English)

E1 SessionsE1 Sessions

Kyma: Programming Environment for Soundİlker IşıkyakarCloud 18 Productions[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 superbsound quality, interactive processes, and ease of running complex algorithms in real time, makeit an ideal path towards professional problem-solving in sound design, post production, filmscoring, game development, sound installations, live performance, research, and any othercreative musical application. Anybody who is serious about sound should give this wonderfulenvironment a chance. One may approximate aspects of it by assembling numerous other toolsat one’s disposal but, in the end, the workflow and "feel" with Kyma are different. Moreover,Kyma itself is quite malleable, adjusting to the individual user's personality and needs, as long ass/he commits to mastering it. Simply put, Kyma is less a product or tool and more a way ofworking, a way of living the sound alchemist's reality. The longer one uses Kyma the more itbecomes one’s personal sound design workstation.A System in Max/MSP and Java For Matching the Tuning in the RecordingY. Burak Tamer & Barış BozkurtBahçeşehir University[1 November Friday, 10:30-11:00, FFB-006]

This paper presents a new tuner system implemented in Java. The main difference from existingtuners is the use of one or more recordings as reference instead of theoretical presets. Thetarget 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 givenrecordings. Then, pitch distributions are obtained and matched to get an overall distributionplot. Finally, on the main display panel of the tuner, the real-time frequency estimate from theinput signal is plotted together with the pitch distribution. The musician adjusts her instrumentto match the frequency estimate of the input signal with a peak of the histogram to perform thetuning operation.Band Ant: Music Made By an Ant ColonyBuğra KarabeyMETU Informatics Institute[1 November Friday, 11:00-11:30, FFB-006]

Music composed and generated by life forms other than human beings have been investigated innu-merous studies. Within my work “Band Ant” the inherent rhythm, harmony and energywithin the movements and interactions of the members of an ant colony have been analyzed bydigital image processing techniques and utilized as the basis of a musical outcome. At the sametime, the swarm intelligence that forms the basis of these activities is mapped onto the domainof music so that one can experience “evolution” at work as an artist.

E2 SessionsE2 Sessions

vocoding Techniques in Audio ApplicationsKürşat PasinlioğluVoispectra[1 November Friday, 16:00-16:30, FFB-005]

Originally being invented for enhancing the voice-carrying capabilities of the telephone lines,potential usage of the vocoder in music productions was recognized in the following years.Initial experiments performed with the vocoder then led to the progress of the electronic music,and starting from the ’70s it was used in numerous albums. Due to its unique sound andpopularity, the vocoder is still a widely used effect in today’s music productions from variousgenres. Obviously, creative usage of the vocoder requires some knowledge about the workingprinciple behind it, whether it is a hardware unit or software plug-in. In this paper, details of theaudio processing approach used in the vocoder are investigated with the corresponding typicalparameters and application techniques.Aliasing in Audio Applications and Solution ApproachesTeoman PasinlioğluIndependent 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 notadequate for covering the complete bandwidth or conversely the signal to be sampled has awider bandwidth for a given sampling rate. In this paper, the aliasing phenomenon is discussedin detail and the necessary techniques used for eliminating the spurious signals formed as aresult of aliasing are overviewed. The simplest rule of thumb for sampling a continuous signal isto set the sampling frequency at least twice as much as the highest frequency componentappearing in the signal. This is known as the Nyquist Criteria and the highest frequency allowedis the Nyquist Frequency which is half the sampling frequency. The criteria is the condition usedfor the lossless recovery of the signal when converted to analog from digital form. In practice,analog signals are digitized using analog-to-digital converts (ADC) by sampling, quantizing andencoding the signal successively, and are reproduced by digital-to-analog converters (DAC) usinga reconstruction or anti-imaging filter. ADCs usually come with one or more sampling rateoptions for the user depending on the application area and specific needs. Any given samplingrate specifies the maximum allowable frequency that can be reproduced correctly without anydisturbance by the aforementioned Nyquist limit. The so-called Anti-Aliasing Filter structure iswidely used for taking care of the aliasing phenomenon occurring in audio applications as wellas in other areas requiring sampling process for that matter.

E3 SessionsE3 Sessions

Reklam İletişiminde Kullanılan Müzik Tasarımının Hedef Kitle Üzerindeki RolüZekiye Tamer GencerSivas Cumhuriyet Üniversitesi[31 Ekim Perşembe, 16:00-16:30, FFB-005]

Toplumsal yasamın bir parcası olarak incelenen ve degerlendirilen iletisim, bireylerin yasamsureclerinde ihtiyac duydukları bir kavramdır. Iletisime egitimden saglıga, aile yasantısındantuketime, haber ve bilgi almadan ticari sureclere kadar hayatın her alanında gereksinimhissedilmektedir. Ayrıca bireyin gelismesinde ve degismesinde de iletisim onemli roloynamaktadır. Bu baglamda gelisen teknolojiyle beraber evrende bulunan tum ses, soz, sembolve isaretler bir iletişim parcası olarak karsımıza cıkmaktadır. Bu calısma kapsamında iletisiminticari boyutunda onemli bir yeri olan reklam iletisiminde kullanılan gorsellik ve muzikincelenmistir. Farklı arastırmalarla ortaya konan reklam muziklerinin etkinligi konusundayapılan bu betimleyici calısma, sunulan literatur taraması ve reklamın muzikle olan iliskisindeonemli yeri olan reklam cıngıllarının acıklanması uzerine kurgulanmıstır.Müzik Teknolojisi Eğitiminde Türkiye'deki Devlet Üniversitelerinde Uygulanan ModellerÜzerine Bir İncelemeServer Acimİnönü Üniversitesi Devlet Konservatuvarı[31 Ekim Perşembe, 16:30-17:00, FFB-005]

Türkiye’deki devlet üniversitelerinde “Müzik Teknolojisi Eğitimi”, birbirinden farklı eğitimmodelleri ve öğrenci seçiminde uygulanan kriterler bağlamında birbirinden farklı sonuçlardoğurmaktadır. Ayrıca Müzik Teknolojisi Eğitimi, Yükseköğretim Kurumu tarafından yeni yenitanınmaya başlanan bir eğitim modeli olmaya başlamıştır. Bu olgular göz önüne alındığında,Türkiye’deki devlet üniversitelerinde “Müzik Teknolojisi” alanında eğitim vermeye başlayan ilgilikurumlarda gelişen yapısal dokularda ve öğrenci seçimi kriterlerinde uygulanan yöntemler,çeşitli sonuçlar doğurmuştur. Bu çalışmada, bu sonuçların artıları ve eksileri masayayatırılacaktır.

BİLDİRİLERBİLDİRİLER(Türkçe)

T1 SunumlarT1 Sunumlar

Türkiye'de Klasik ve Çağdaş Müzik Prodüksiyonlarında Ses Mühendisi ile Sanatçı ArasındakiİletişimCan KaradoğanİTÜ TMDK & MIAM[31 Ekim Perşembe, 17:00-17:30, FFB-005]

İlerleyen kayıt teknolojisiyle birlikte evrilen müzik yapım yöntemleri günümüz sanatçılarınıolumlu veya olumsuz şekilde etkilemektedir. Yıllarca canlı icra konusunda tecrübe biriktirmişbir icra sanatçısı bile stüdyo kaydına girdiği zaman sıkıntılar çekebilmektedir. Aynı şekildeoldukça fazla kayıt tecrübesi olan bir sanatçı ise teknolojinin olanaklarından tartışmalı birşekilde faydalanabilmektedir. Sanat yönetmeni (producer) rolünün tam olarak doldurulamadığıbirçok kayıt projesinde, bu rolün vermesi gereken birçok karar mecburen ses mühendisineyıkılmakta olup sağlıksız sonuçlara yol açabilmektedir. Bu bildiride, işte bu sıkıntılı iletişimsorununun çözüme yaklaştırılabilmesi için çok kanallı klasik veya çağdaş müzik kayıtprojelerinde iki esas aktör olan ses mühendisi ve sanatçının üzerine düşen görevler ve de buaşamaya gelene kadar alacakları müzik eğitimi için öneriler tartışılacaktır.

Tını Araştırmalarında Sistematik ve Yenilikçi Bir Yaklaşım İhtiyacıSair Sinan KestelliİTÜ MİAM[1 Kasım Cuma, 10:00-10:30, FFB-005]

Tını, sıklıkla sesin perdesi ve dinamiği dışında kalan ve bir ses kaynağının diğerinden ayırtedilebilmesini sağlayan özellikleri olarak tanımlanır. Bu tanım, gerek tınının 'ne olduğundanziyade ne olmadığını' belirtmesi, gerekse tınıyı sadece ses kaynağı üzerinden açıklamasıylabulanık bir kavramsal çerçeveye sahiptir. Tını aynı zamanda, teknolojinin hızlı gelişimi sayesindesesin işlenebilmesi açısından neredeyse sınırsız olanaklar sunan stüdyolarda sesin en çoktartışılan özelliği haline gelmiştir. Ancak, bu tartışmalarda, genellikle kişisel deneyimlere dayalıbir terminoloji kullanılmakta ve profesyoneller arası iletişimde kopukluklar yaşanmaktadır.Gerek tınının çok boyutlu ve karmaşık yapısının göz önüne alınarak yeniden tanımlanması,gerek bu iletişim kopukluklarının giderilerek tınıyla ilgili ortak bir terminoloji oluşturulması,gerekse son dönem araştırmalarında işitsel algı yanında; görsel ve kinestetik algıyla bütünlüklüşekilde anlamlandırıldığı kanıtlanan tını kavramının, son dönemde ortaya çıkan teknolojikaraçlar kullanılarak ve çok disiplinli bir şekilde araştırılmasıyla, tını çalışmaları sistematik halegetirilebilir ve berrak bir kavramsal çerçeveye oturtulabilir.

T2 SunumlarT2 Sunumlar

Mikrotonal Perdelerin MIDI İle Seslendirilmesi: Bir Max/MSP ÇalışmasıSerdar Çelik & Arda Eden & Gülay KarşıcıCumhuriyet Üniversitesi & İnönü Üniversitesi & Erciyes Üniversitesi[1 Kasım Cuma, 10:30-11:00, FFB-005]

Bilgisayar ile müzik ilişkisi içinde çok önemli bir yere sahip olan MIDI günümüzde sadecetampare perde sistemini kullanan tonal müzik için kullanılabilir durumdadır. Dolayısıyla, Türkmakam müziğininde içinde bulunduğu pek çok mikrotonal perde sisteminin MIDI'yeuyarlanması ve mikrotonal perde sistemlerinin Digital Audio Workstation'lar ile kullanılmasımümkün değildir. Araştırmamızda mikrotonal perdelerin MIDI ile seslendirilmesi ve DigitalAudio Workstation yazılımı içinde kullanılabilmesine yönelik Max/MSP tabanlı bir mikrotonalMIDI arayüzü programladık. MIDI arayüzünün programlanmasında kullanılan MIDI ChannelVoice mesajlarıyla oluşturulan algoritma, MIDI arayüzünün sunumu, mikrotonal perdeleriseslendirmedeki yeterliliği ve nasıl kullanılacağı gibi temel konular araştırmamızın içeriğinioluşturur. video Oyun Sektöründe Kullanılan Ses Tasarımı Teknikleri, Sanal Müzisyenlik Kavramı veDeğişen Müzisyenlik Pratikleri: Rocksmith Oyunu Örneği Suat vergili & Aykut ÇerezcioğluDokuz Eylül Üniversitesi[1 Kasım Cuma, 11:00-11:30, FFB-005]

Video oyun sektöründe gelişen prodüksiyon teknikleri ile giderek daha kaliteli soundtrackleroluşmakta, sanal deneyimin başarısı ve gerçekçiliği artmaktadır. Kullanılan prodüksiyon yöntemve tekniklerindeki gelişmeler farklı türlerde oyunların da önünü açmış, oyunseverlere daha önceyaşamadıkları deneyimleri yaşama imkanını sağlamıştır. Bu bildiride Rocksmith oyunu özelindeöncelikle video oyun sektöründeki ses tasarımı teknikleri üzerine bilgiler verilecek, daha sonrasanal gerçeklik ortamında müzik icrası, müziksel becerilerin gelişimi ve bu sanal gerçekliğin birsanal deneyime ne şekilde dönüştüğü anlaşılmaya çalışılacaktır.

T3 SunumlarT3 Sunumlar

Zaman Kodlu Senkron Sorunlarının KökeniCihan IşıkhanDokuz Eylül Üniversitesi[1 Kasım Cuma, 14:00-14:30, FFB-005]

Senkron (eşgüdüm, synchronization), donanımlar arasında uygun adım hareketi sağlayan biriletişim, sistemin bir merkezden yönetilmesine olanak tanıyan makinalar arası bir protokoldür.Eşgüdüm sayesinde iki ya da daha fazla donanım zaman ve hız değerlerinde anlaşıp uyum içindeçalışır veya çalışması beklenir; çünkü özellikle yoğun içerikli profesyonel ses kayıtuygulamalarında teoriyle pratik her zaman örtüşmeyebilir ve eşgüdüm kaynaklı ciddi sorunlarortaya çıkar. Bu sorunların pek çoğunun bağlantı, ayar ya da kullanım hatasından ortaya çıktığıdüşünülse de aslında hiç de azımsanmayacak kadarı eşgüdüm tipinden, seçilen protokolünolağan yapısından kaynaklanır. Bu çalışma, teorik olarak hiçbir sorun olmayacağı beklentisiyleyola çıkılan uygulamalarda bile yalnızca seçilen zaman kodlu (time code) eşgüdümün dijitalyapısı gereği ortaya çıkan ciddi sorunları, sorunların kaynağı olan protokollerin içyapıları veçözüm önerilerini içermektedir. Sözü edilecek protokoller, uygulamalarda en çok kullanıldığıtespit edilen ve geleneksel zaman kodu SMPTE’nin MIDI protokolündeki temsilcisi MTC vetürevleriyle (tam kare, MMC vs.), özel bir otomasyon eşgüdüm sistemi olan HUI’dir. Çözüm içinotomasyonun devreye girdiği HUI’yi bir tarafa bırakacak olursak, MTC’nin ana hatlarıyla birçeyrek kare mesajı olması, MMC’nin ise içinde tam kare MTC’yi barındırmasına rağmen klasikbir SysEx yapısı taşıyor olması, zaman kodlu eşgüdüm sorunlarının en önemli kökenidir. Kontrol Odalarında Tasarım Yaklaşımlarıİsmet Emre YücelSakarya Üniversitesi Devlet Konservatuvarı[1 Kasım Cuma, 14:30-15:00, FFB-005]

Kontrol odaları 1950’li yılların ortalarına kadar ses stüdyolarının bir kenarında gelisigüzel yeralmaktaydı. Stereo kaydın popüler olmaya basladıgı ve tüketiminin arttıgı 50’li yıllarınsonlarında önemi artan kontrol odaları, tasarım yaklasımları açısından o yıllardan günümüzedegisiklik geçirerek gelmistir. LEDE, RFZ, Non-Environment, CID, ESS gibi kontrol odasıtasarımlarındaki farklı yaklasımların ortak özelligi miks mühendisine kaydın aslına sadıkkalacak sekilde bir dinleme ortamı saglamaktır. Bu yazıda kontrol odalarının geçmiştengünümüze tasarım yaklaşımlarının, mevcut ve ulaşılabilen kaynaklar ışığında ortaya konmasıamaçlanmıştır.

Mobile Applications as the Future Music Playback MediumOzan SarıerITU MIAM, PhD Student[31 October Thursday, 16:30-17:00, Foyer]

This session is the demonstration of the ideas and software that was developed for Sarıer'smaster thesis, titled “Mobile Applications as the Future Music Playback Medium”. Today's mobilesystems are capable enough to process and mix multi-track audio reminiscent of digital audioworkstations found in recording studios and music production facilities. This capability ofon-the-fly mixing leads the way to music playback in the form of mobile applications whichallow 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 experiencebecome a possibility. This thesis aims to be a guide to the development of future frameworksand standards by discussing the possibilities, benefits, problems and design considerationsassociated with the next generation of music playback systems that use mobile applications astheir medium.Ensample: Practising Recordings as Musical InstrumentsSair Sinan KestelliITU MIAM, PhD Student[1 November Friday, 15:30-16:00, Foyer]

This session is the demonstration of Ensample, a custom-built, sample based digital musicalinstrument which uses positionmeters, infrared proximity sensors, pedals and common MIDIdevices for its controller part and various tools created with Max/MSP and Ableton Live for itssound generation part. Hardware part of the instrument consists of a Sensor System Eobody 28M Sensor Box, 3 Positionmeters, 2 Infrared Proximity Sensors and 1 Sustain Pedal, 1 NovationLaunchpad and 1 M-Audio XSession Pro midi controller. Software part of the instrument wasdesigned 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 enablethe practice of sound recordings as musical instruments through improvisations, compositionsand performances for various samples and controllers.

Turning PointsAida 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 inmy life. They are so familiar that I cannot really decide whether they are a part of me, or I belongto them! My intention for choosing this collection was association of each of these musics with amilestone of my life. In other words, these musics narrate the (literally) turning points of mylife."

STUDENT PRESENTATIONSSTUDENT PRESENTATIONS

PERFORMANCEPERFORMANCE

Remote: Relocating Sound project is developed to trace the new mental maps throughsound-art. In a period in which geographical positioning is losing its importance, the projectaims to question how the production which focuses on sound-art in Turkey, Germany, Bulgaria,and Greece position itself. Remote: Relocating Sound project creates platforms of discussion on various subjects relatedwith the current focusing points of contemporary sound-art milieu. The expressive potentials ofsound-art performances, sonification of scientific data, interpretation of remote information aresome of the topics of presentations, workshops, and performances.Remote: Relocating Sound, curated by Başak Şenova, is a joint project of ArtUP!, NOMAD andBilkent University.Participants of the project are Marcus Schmickler (Germany), HR Stamenov (Bulgaria), 1000names (Bulgaria), Medea Electronique (Greece), and NOMAD (Turkey).NOMAD: Erhan Muratoğlu - Emre Erkal - Başak Şenova[31 October Thursday, 14:00-14:30, FFB-006]

NOMAD was founded in 2002 as an independent formation and registered as an association in2006. NOMAD aims to produce and experiment with new patterns in the digital art sphere byusing the lenses of various other disciplines. NOMAD's production network aims to build strongconnections across territorial borders through digital culture-oriented projects; initially inEurope and the Middle East, then in other areas. The main goal of these projects is to establish aproductive communication channel that facilitates access to new information resources. Since2002, 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 asopposed to the extensive production rate from 2002 to 2008. Most recently, NOMAD has beenfocusing on archiving and publishing as another mode of operating that has a less immediateoutput. http://www.nomad-tv.netRecording Strategies Day 1Paul 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 anintermediate in a power relation. What does it mean when the recording microphone isintroduced in an everyday environment of people who don't expect it, and the recordist has totalfreedom to manipulate the recordings? The workshop will reflect on this by given examplesfrom contemporary culture and works from the art practise of Paul Devens. On the first day ofthe workshop, there will be an introduction, reflecting on the techniques and theories. Then, asmall assignment will be handed out.

REMOTE: RELOCATING SOUNDREMOTE: RELOCATING SOUND

Recording Strategies Day 2Paul Devens[1 November Friday, 16:00-17:00, FFB-006]

On the second day of the workshop, the assignment will be discussed. Please bring recordingequipment such as video-cameras, 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 (VideoArtist Designer), Christos Laskaris (Painter), Tim Wart (Composer), Haris Germanidis (VideoArtist), 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), BeyondReasoning (Video Installation, 2012), Koumaria Residency 2009-2013, EPIC (Video Art-2012),Electric Nights (Electronic Arts Festival, 2012), Fragments of the Unseen (InteractivePerformance, Video Installation 2010-2012), EMW (Electronic Arts Festival, 2010), andMonotonia (Video Installation, 2010).Sounds From the SkyHR Stamenov[1 November Friday, 15:00-16:00, FFB-006]

The interaction of scientific experiments and media impressionism will be traced through thecollaboration of two artists which resulted in a new media work. In 1979 Alzek Misheff workingwith the group for Mathematic Calculation at the Institute of the National Research Council inPisa created a sound interpretation of the color slides from Andromeda Galaxy. The experimentand performance using and disseminating sounds of a cosmic origin was realized in Milan. In2011 HR-Stamenov installed the artwork Space 0 Space in Venice. Using high voltage lightingequipment and powerful sound, he reproduced a thunderstorm with lightning inside a 17thcentury palazzo. The cooperation between Stamenov with his experiments to "capture andcontrol” natural phenomena, and Misheff with the aforementioned and other experiments, led tothe 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 classicMelonball Bounce alongside Rustie on Beatnick’s Vol 1 in 2007. Taking their name from an AnishKapoor sculpture, 1000names is identifiably part of the global beats scene. 1000names presentssome samples from their collection.Exhibition: Medea Electronique: "Beyond Reasoning"[31 October Thursday, 19:00 (opening and reception), Goethe-Institut]

“Beyond Reasoning” is a four channel audio visual installation piece inspired by Attalis workNoise. Noise is a resonance that interferes with the audition of a message in the process ofemission. It is any disruption of any social process, any source of pain. Noise necessarilyproduces resistance in the mind, creating a “critical distance” via a “body/mind rupture.”In Medea Electronique’s Beyond Reasoning, noise represents the inability to express anyemotion of resistance. The reaction of the four characters (who stand defenseless in front of thecamera) to the soundtrack represents their failure to react against the establishment. In largethe project is inspired by the recent economic crisis and the subsequent crisis in moral andvalues…Performance: Marcus Schmickler "particle/matter-wave/energy"[31 October Thursday, 19:00, Goethe-Institut]

For his performance, Schmickler shows compositions based on sonification: Bonn Patternizationis based on astrophysical data that asks the question: "What does it sound like when galaxyclusters of 30 objects reciprocally influence each other by means of gravitation?". Using datagathered by researchers at Germany’s Argelander Institute of Astronomy, Schmickler will collidefirst two, then three simulated galaxies. Another composition is based on sonifications of contemporary mathematics. Is it possible toperceive changes in a society through changes in its music? Is it possible to understandcontemporary music through its implicit relationships with money? And how better could wedescribe the disciplines of music and economics than through mathematics, their commonfoundation?