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 andnew 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 nen (Bilkent University)Teoman Pasinliolu (Independent Researcher)Mustafa Ertan (Interelektro)Ahmet Grata (Bilkent University)Blent Bykolu (KV331 Audio)Krat Pasinliolu (Voispectra)ATMM 2013 Steering Committee Associate Memberspek Altun (Bilkent University)Bilge Mira Atc (Baheehir University)Giray Bayer (Bilkent University)Gerek Dorman (zdem Mzik)Uur Satlm (Bilkent University)ATMM 2013 Student Connection BoardYusuf Akura (Bilkent University)Arda Eden (nn University)Bora Uslusoy (Plato College of Higher Education)Suat Vergili (9 Eyll University)

ATMM 2013 Review BoardTeoman Pasinliolu (Independent Researcher)Cihan Ikhan (9 Eyll University)Arda Eden (nn University)Mahcem ztrk (Mziktek)ATMM 2013 AssistantsHasan ulu (Bilkent University)Altu Karakurt (Bilkent University)B. Lila zkazan (Bilkent University)Gne Uyank (Bilkent University)Ezgi . Ycel (Bilkent University)Contact

Lennie MooreKeynote Address

Stephen Harwood & Lennie MooreGame Audio Theory and Practice

Aida Shirazi Performance

H. T. Dizdar itme Kayplar

T1 Sunumlar (Trke)

E1 Sessions (English)NOMAD

Paul DevensRecording Strategies I Student Presentations

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 MemiMiks Semineri

T2 Sunumlar (Trke) E2 Sessions (English)

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

Pieter SnapperPerspectives on Recording, Mixing,and Mastering on ContemporaryOpera

Cem TuncerSeminer: Bas Gitar Tonu E3 Sessions (English)

T3 Sunumlar (Trke) Medea Electronique

HR StamenovSounds From the Sky

Paul DevensRecording Strategies II

1000names

Student Presentations

19:00 Beyond Reasoning (sergi al ve kokteyl / exhibition opening reception) & Marcus Schmicklerparticle/matter-wave/energy (performance / performans) Goethe Institut, Ankara.

31 October Thursday / 31 Ekim Perembe31 October Thursday / 31 Ekim Perembe

01 November Friday / 01 Kasm Cuma01 November Friday / 01 Kasm 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 konumacs (keynote) 25 yldr bilgisayar oyunlar, film ve televizyon iinyapt mziklerle alannn duayenlerinden biri olan Lennie Moore olacak. Star Wars: The OldRepublic, Kinect Disneyland Adventures, The Walking Dead Motion Comic, 2008 G.A.N.G. dllWatchmen Motion Comic ve Dirty Harry, Lennie Mooreun almalar arasnda yer alanyapmlardan sadece birka tanesidir. Profesyonel almalar dnda eitimci kimliiyle de nekan alan Moore, Pinnacle Collegeda Game Audio & Interactive Media (Oyun Sesi veEtkileimli Medya) dalnda Amerika Birleik Devletlerindeki ilk akredite program gelitirmitir.Moore, bunun yan sra UCLA Extension ve USC Thornton School of Music iin oyunlar veses/mzik zerine eitli dersler tasarlam ve uygulamtr.

Keynote: Lennie Moore[31 October Thursday / 31 Ekim Perembe, 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 productionand classical recording in generalis 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 (Inn 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 nen (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 Masters 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 Uur Memi[1 Kasm Cuma, 10:30-11:30, FFB-022]

ATMM 2013, tannm ses mhendislerinden Mehmet Uur Memi tarafndan gerekletirilecekolan 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 FaktrlerCem 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 tonlarnnkalitesini etkileyen faktrlerini ele alan bir seminer gerekletirecek.Grltye Bal itme KaybHandan Turan Dizdar[31 Ekim Perembe, 17:00-17:30, FFB-022]

Odyoloji uzman Handan Turan Dizdar iitme duyumuzu mercek altna alyor. Kulak anatomisive iitme fizyolojisi gibi konunun en temel noktalar bata olmak zere akustik travma ve/veyagrltye bal iitme kayb ve insan sal zerindeki dier etkileri dnda sz konusudurumlar iin uygulanan tedavi ve korunma yntemlerini paylaacak.

ETKNLKLERETKNLKLER(Trke)

A Generative Synthesis Drum Machine Model in Max/MSPY. Burak TamerBaheehir 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 olakCyprus 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 Tarkovskys 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 Soundlker IkyakarCloud 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 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 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 ones personal sound design workstation.A System in Max/MSP and Java For Matching the Tuning in the RecordingY. Burak Tamer & Bar BozkurtBaheehir 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 ColonyBura 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 ApplicationsKrat PasinlioluVoispectra[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 todays 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 PasinlioluIndependent 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 letiiminde Kullanlan Mzik Tasarmnn Hedef Kitle zerindeki RolZekiye Tamer GencerSivas Cumhuriyet niversitesi[31 Ekim Perembe, 16:00-16:30, FFB-005]

Toplumsal yasamn bir parcas olarak incelenen ve degerlendirilen iletisim, bireylerin yasamsureclerinde ihtiyac duyduklar bir kavramdr. Iletisime egitimden saglga, aile yasantsndantuketime, haber ve bilgi almadan ticari sureclere kadar hayatn her alannda gereksinimhissedilmektedir. Ayrca bireyin gelismesinde ve degismesinde de iletisim onemli roloynamaktadr. Bu baglamda gelisen teknolojiyle beraber evrende bulunan tum ses, soz, sembolve isaretler bir iletiim parcas olarak karsmza ckmaktadr. Bu calsma kapsamnda iletisiminticari boyutunda onemli bir yeri olan reklam iletisiminde kullanlan gorsellik ve muzikincelenmistir. Farkl arastrmalarla ortaya konan reklam muziklerinin etkinligi konusundayaplan bu betimleyici calsma, sunulan literatur taramas ve reklamn muzikle olan iliskisindeonemli yeri olan reklam cngllarnn acklanmas uzerine kurgulanmstr.Mzik Teknolojisi Eitiminde Trkiye'deki Devlet niversitelerinde Uygulanan Modellerzerine Bir ncelemeServer Acimnn niversitesi Devlet Konservatuvar[31 Ekim Perembe, 16:30-17:00, FFB-005]

Trkiyedeki devlet niversitelerinde Mzik Teknolojisi Eitimi, birbirinden farkl eitimmodelleri ve renci seiminde uygulanan kriterler balamnda birbirinden farkl sonulardourmaktadr. Ayrca Mzik Teknolojisi Eitimi, Yksekretim Kurumu tarafndan yeni yenitannmaya balanan bir eitim modeli olmaya balamtr. Bu olgular gz nne alndnda,Trkiyedeki devlet niversitelerinde Mzik Teknolojisi alannda eitim vermeye balayan ilgilikurumlarda gelien yapsal dokularda ve renci seimi kriterlerinde uygulanan yntemler,eitli sonular dourmutur. Bu almada, bu sonularn artlar ve eksileri masayayatrlacaktr.

BLDRLERBLDRLER(Trke)

T1 SunumlarT1 Sunumlar

Trkiye'de Klasik ve ada Mzik Prodksiyonlarnda Ses Mhendisi ile Sanat ArasndakiletiimCan KaradoanT TMDK & MIAM[31 Ekim Perembe, 17:00-17:30, FFB-005]

lerleyen kayt teknolojisiyle birlikte evrilen mzik yapm yntemleri gnmz sanatlarnolumlu veya olumsuz ekilde etkilemektedir. Yllarca canl icra konusunda tecrbe biriktirmibir icra sanats bile stdyo kaydna girdii zaman skntlar ekebilmektedir. Ayn ekildeolduka fazla kayt tecrbesi olan bir sanat ise teknolojinin olanaklarndan tartmal birekilde faydalanabilmektedir. Sanat ynetmeni (producer) rolnn tam olarak doldurulamadbirok kayt projesinde, bu roln vermesi gereken birok karar mecburen ses mhendisineyklmakta olup salksz sonulara yol aabilmektedir. Bu bildiride, ite bu skntl iletiimsorununun zme yaklatrlabilmesi iin ok kanall klasik veya ada mzik kaytprojelerinde iki esas aktr olan ses mhendisi ve sanatnn zerine den grevler ve de buaamaya gelene kadar alacaklar mzik eitimi iin neriler tartlacaktr.

Tn Aratrmalarnda Sistematik ve Yeniliki Bir Yaklam htiyacSair Sinan KestelliT MAM[1 Kasm Cuma, 10:00-10:30, FFB-005]

Tn, sklkla sesin perdesi ve dinamii dnda kalan ve bir ses kaynann dierinden ayrtedilebilmesini salayan zellikleri olarak tanmlanr. Bu tanm, gerek tnnn 'ne olduundanziyade ne olmadn' belirtmesi, gerekse tny sadece ses kayna zerinden aklamasylabulank bir kavramsal ereveye sahiptir. Tn ayn zamanda, teknolojinin hzl geliimi sayesindesesin ilenebilmesi asndan neredeyse snrsz olanaklar sunan stdyolarda sesin en oktartlan zellii haline gelmitir. Ancak, bu tartmalarda, genellikle kiisel deneyimlere dayalbir 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 btnlklekilde anlamlandrld kantlanan tn kavramnn, son dnemde ortaya kan teknolojikaralar kullanlarak ve ok disiplinli bir ekilde aratrlmasyla, tn almalar sistematik halegetirilebilir ve berrak bir kavramsal ereveye oturtulabilir.

T2 SunumlarT2 Sunumlar

Mikrotonal Perdelerin MIDI le Seslendirilmesi: Bir Max/MSP almasSerdar elik & Arda Eden & Glay KarcCumhuriyet 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 sadecetampare perde sistemini kullanan tonal mzik iin kullanlabilir durumdadr. Dolaysyla, Trkmakam mziininde iinde bulunduu pek ok mikrotonal perde sisteminin MIDI'yeuyarlanmas ve mikrotonal perde sistemlerinin Digital Audio Workstation'lar ile kullanlmasmmkn deildir. Aratrmamzda mikrotonal perdelerin MIDI ile seslendirilmesi ve DigitalAudio Workstation yazlm iinde kullanlabilmesine ynelik Max/MSP tabanl bir mikrotonalMIDI arayz programladk. MIDI arayznn programlanmasnda kullanlan MIDI ChannelVoice mesajlaryla oluturulan algoritma, MIDI arayznn sunumu, mikrotonal perdeleriseslendirmedeki yeterlilii ve nasl kullanlaca gibi temel konular aratrmamzn ieriinioluturur. video Oyun Sektrnde Kullanlan Ses Tasarm Teknikleri, Sanal Mzisyenlik Kavram veDeien Mzisyenlik Pratikleri: Rocksmith Oyunu rnei Suat vergili & Aykut erezcioluDokuz Eyll niversitesi[1 Kasm Cuma, 11:00-11:30, FFB-005]

Video oyun sektrnde gelien prodksiyon teknikleri ile giderek daha kaliteli soundtracklerolumakta, sanal deneyimin baars ve gerekilii artmaktadr. Kullanlan prodksiyon yntemve tekniklerindeki gelimeler farkl trlerde oyunlarn da nn am, oyunseverlere daha nceyaamadklar deneyimleri yaama imkann salamtr. Bu bildiride Rocksmith oyunu zelindencelikle video oyun sektrndeki ses tasarm teknikleri zerine bilgiler verilecek, daha sonrasanal gereklik ortamnda mzik icras, mziksel becerilerin geliimi ve bu sanal gerekliin birsanal deneyime ne ekilde dnt anlalmaya allacaktr.

T3 SunumlarT3 Sunumlar

Zaman Kodlu Senkron Sorunlarnn KkeniCihan IkhanDokuz Eyll niversitesi[1 Kasm Cuma, 14:00-14:30, FFB-005]

Senkron (egdm, synchronization), donanmlar arasnda uygun adm hareketi salayan biriletiim, sistemin bir merkezden ynetilmesine olanak tanyan makinalar aras bir protokoldr.Egdm sayesinde iki ya da daha fazla donanm zaman ve hz deerlerinde anlap uyum iindealr veya almas beklenir; nk zellikle youn ierikli profesyonel ses kaytuygulamalarnda teoriyle pratik her zaman rtmeyebilir ve egdm kaynakl ciddi sorunlarortaya kar. Bu sorunlarn pek ounun balant, ayar ya da kullanm hatasndan ortaya ktdnlse de aslnda hi de azmsanmayacak kadar egdm tipinden, seilen protokolnolaan yapsndan kaynaklanr. Bu alma, teorik olarak hibir sorun olmayaca beklentisiyleyola klan uygulamalarda bile yalnzca seilen zaman kodlu (time code) egdmn dijitalyaps gerei ortaya kan ciddi sorunlar, sorunlarn kayna olan protokollerin iyaplar vezm nerilerini iermektedir. Sz edilecek protokoller, uygulamalarda en ok kullanldtespit edilen ve geleneksel zaman kodu SMPTEnin MIDI protokolndeki temsilcisi MTC vetrevleriyle (tam kare, MMC vs.), zel bir otomasyon egdm sistemi olan HUIdir. zm iinotomasyonun devreye girdii HUIyi bir tarafa brakacak olursak, MTCnin ana hatlaryla bireyrek kare mesaj olmas, MMCnin ise iinde tam kare MTCyi barndrmasna ramen klasikbir SysEx yaps tayor olmas, zaman kodlu egdm sorunlarnn en nemli kkenidir. Kontrol Odalarnda Tasarm Yaklamlarsmet Emre YcelSakarya niversitesi Devlet Konservatuvar[1 Kasm Cuma, 14:30-15:00, FFB-005]

Kontrol odalar 1950li yllarn ortalarna kadar ses stdyolarnn bir kenarnda gelisigzel yeralmaktayd. Stereo kaydn popler olmaya basladg ve tketiminin arttg 50li yllarnsonlarnda nemi artan kontrol odalar, tasarm yaklasmlar asndan o yllardan gnmzedegisiklik geirerek gelmistir. LEDE, RFZ, Non-Environment, CID, ESS gibi kontrol odastasarmlarndaki farkl yaklasmlarn ortak zelligi miks mhendisine kaydn aslna sadkkalacak sekilde bir dinleme ortam saglamaktr. Bu yazda kontrol odalarnn gemitengnmze tasarm yaklamlarnn, mevcut ve ulalabilen kaynaklar nda ortaya konmasamalanmtr.

Mobile Applications as the Future Music Playback MediumOzan SarerITU 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'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 Baak enova, 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 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 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 Beatnicks 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 Electroniques 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 andvaluesPerformance: 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 Germanys 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?