[Sursound] BEAST FEaST 2019 Call for Works and Talks

[Scott Wilson]

BEAST FEaST 2019: ▶︎▶︎fast-forward▶︎◀︎rewind◀︎◀︎
Thursday 2 – Saturday 4 May 2019
The University of Birmingham, UK

Since its inception, electronic music has been wedded to notions of modernity 
and futurity. Composers like Edgar Varese and Iannis Xenakis styled themselves 
as musician-scientists, blazing a path into the future, while popular 
electronic music from Louis and Bebe Barron to Kraftwerk frequently drew on 
images of space travel and nuclear power to frame the new sounds of electronic 
synthesis. Recent years have seen postmodern tropes of revivalism, pastiche, 
and appropriation make an appearance in popular electronic music genres like 
hauntology, as musicians have become increasingly interested in plundering the 
past as a resource for the present. Yet this fervour has not taken hold to the 
same extent in electroacoustic music, and much of the discourse around the form 
remains at least outwardly committed to the modernist ideas of the new it 
espoused in the 1950s; an ‘old’ ideal of the new, rather than a ‘new’ 
fashioning of the old.

Under what conditions might the old be reimagined as the new? Is the 
‘old-fashioned’ ideal of the perpetually new more productive and necessary than 
ever, or simply the intellectual underpinning for well-established styles and 
schools? For this edition of BEAST FEaST, we invite composers and listeners of 
electronic music to rewind in order to fast-forward: What new paths may open up 
by engaging more closely with works, idioms, and technologies from the past? 
What ideas, old and new, might take us forward?

Join us for three days of music, meeting, and ideas, along with featured guest 
artists Norah Lorway , Pete Stollery 
, Anothai 
Nitibhon , Jean-David Caillouët 
, Anton Lukoszevieze 
 and Apartment House 
.


CALL FOR WORKS, TALKS, AND INSTALLATIONS

For BEAST FEaST 2018 we invite submissions that touch on any aspect of the 
theme ▶︎▶︎fast-forward▶︎◀︎rewind◀︎◀︎described above. We seek to represent the 
broadest range of electronic music practices and practitioners at the festival, 
and we aim for diversity of music, background, and ethnicity, as well as 
balance in gender representation. We therefore encourage all to submit to our 
call for works, and ask that you repost this call as widely as possible.

More info and Call for Works, Installations and Talks here: 
http://www.beast.bham.ac.uk/beast-feast-2019/ 


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[Sursound] OT: Studio Technician Job

[Scott Wilson]

Hi All,

We have an opening for a Studio Technician position here in Birmingham, 
offering the chance to work with a great community of artists and researchers, 
fantastic facilities and 100 loudspeaker sound systems! Please disseminate far 
and wide:

https://atsv7.wcn.co.uk/search_engine/jobs.cgi?SID=amNvZGU9MTczNTM2MSZ2dF90ZW1wbGF0ZT03Njcmb3duZXI9NTAzMjUyMSZvd25lcnR5cGU9ZmFpciZicmFuZF9pZD0wJnZhY2Zpcm0udmFjdGl0bGU9c3R1ZGlvJnBvc3RpbmdfY29kZT0xMTc=
 


http://www.download.bham.ac.uk/vacancies/jd/51302a.pdf 

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[Sursound] OT De-Interleaver

[Scott Wilson]

Hi All,

Some time ago I made a little OSX app called De-Interleaver, which (you guessed 
it) de-/interleaved mono sound files to and from multichannel ones. I did this 
because there wasn’t much around that did it at the time.

Time passed, various people submitted bug reports and feature requests that I 
mostly didn’t have time to deal with, and eventually it stopped working 
entirely on newer versions of OSX.

I’m still fairly busy, and there are other tools out there that can do this, so 
I’m not going to actively develop it further, but as it was sort of popular, 
and I still get queries about it, I thought I should at least clean it up, get 
it working, and put it up on Github, so that others can use it, fix it or 
extend it if they like.

Fixing 10 year old Obj-C code was not so fun ;-) but it now builds without 
errors and works AFAICS. A beta release is available here:

https://github.com/muellmusik/De-Interleaver/releases/tag/v1.3.0-beta

Please kick the tires and let me know if anything shakes loose.

Happy De-Interleaving,

Scott



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[Sursound] OT: Opportunities for Study and Funding at the University of Birmingham / BEAST

[Scott Wilson]

Hi All,

Below is some information on funding and study opportunities in electronic 
music at the University of Birmingham. We offer:

The chance to join a department which has been a leader in the field for over 
three decades.
Expertise in acousmatic composition, live-coding, mixed instrumental/electronic 
music, large-scale spatialisation, network music, SuperCollider development, 
non-standard synthesis, and phonology/soundscape composition
The opportunity to work with BEAST, our world-renowned concert system, capable 
of presenting electronic music in circa 100 discrete channels 
(http://www.beast.bham.ac.uk)
Access to amazing facilities in the £16 million Bramall Music Building:
Six cutting edge multichannel composition studios
The Dome Rehearsal Room, featuring the 30+ channel BEASTdome system
The Elgar Concert Hall, arguably the finest and most flexible (particularly for 
electronic music) space of its kind in a UK university
Throughout featuring bespoke acoustic design by Nick Edwards (Symphony Hall 
Birmingham, Symphony Centre Dallas, Royal Shakespeare Theatre)
Excellent equipment resources (recorders, microphones, etc.)
Opportunities to work with world class visiting performers (e.g. BCMG annually; 
Exaudi, Hermes, and Fidelio trio in recent years) and composers (e.g. Freida 
Abtan and John Richards) in regular workshop sessions and masterclasses
Regular collaborations with exciting partners both locally and internationally, 
for example CERN, Birmingham Open Media, Sampad, etc.
Degrees at masters and PhD level

More info on our research culture, staff, and facilities is available here: 

http://www.birmingham.ac.uk/schools/lcahm/departments/music/research/index.aspx
http://www.birmingham.ac.uk/ea-studios/

Information on programmes and how to apply: 
http://www.birmingham.ac.uk/schools/lcahm/departments/music/postgraduate/index.aspx

Funding Opportunities

Birmingham is part of the Midlands3Cities AHRC doctoral training partnership, 
which offers up to full scholarships with a living allowance for UK and EU 
students, and opportunities for co-supervision across institutions in the 
consortium.

http://www.midlands3cities.ac.uk/midlands-3-cities/funding/funding.aspx
 
All applicants may apply for College of Arts and Law Scholarships and Music 
Department funding (applicants for M3C and College funding will be considered 
for the latter automatically), and there are some opportunities specifically 
for non-EU students and distance learning students.

http://www.birmingham.ac.uk/schools/calgs/scholarships/index.aspx
http://www.birmingham.ac.uk/postgraduate/funding/Music-Department-Scholarships.aspx
http://www.birmingham.ac.uk/postgraduate/funding/College-of-Arts-and-Law-Distance-Learning-PhD-Bursaries.aspx
http://www.birmingham.ac.uk/International/students/finance/scholarships/index.aspx

We also have a number of teaching assistantships and internships, and regularly 
include students on research bids.

Please feel free to contact me with any questions: s.d.wil...@bham.ac.uk

Best,

Scott


__

Dr. Scott Wilson
Reader in Electronic Music
Director of BEAST and the Electroacoustic Studios
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
Studios: http://www.birmingham.ac.uk/ea-studios
BEAST: http://www.beast.bham.ac.uk
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass
























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[Sursound] OT: BEAST FEaST 2017 Call for Works/Installations/Talks

[Scott Wilson]

Hi All,

We're delighted to announce our Call for Works/Installations/Talks for BEAST 
FEaST 2017: Figure | Landscape | Seascape | Sky, Thursday 27 – Saturday 29 
April 2017

Last year we were blown away by all the amazing stuff we receieved that we 
didn't know about, and we can't wait to see what we'll get this time! Please 
submit, and share widely!

Submissions are open Monday August 1st - Friday September 2nd

http://www.beast.bham.ac.uk/beast-feast-2017-call-for-workstalksinstallations/ 
<http://www.beast.bham.ac.uk/beast-feast-2017-call-for-workstalksinstallations/>

Best,

Scott


______

Dr. Scott Wilson
Reader in Electronic Music
Director of BEAST and the Electroacoustic Studios
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca <http://scottwilson.ca/>
Music Dept: http://www.birmingham.ac.uk/music 
<http://www.birmingham.ac.uk/music>
Studios: http://www.birmingham.ac.uk/ea-studios 
<http://www.birmingham.ac.uk/ea-studios>
BEAST: http://www.beast.bham.ac.uk <http://www.beast.bham.ac.uk/>
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx 
<http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx>
COMPASS: http://www.birmingham.ac.uk/compass 
<http://www.birmingham.ac.uk/compass>

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[Sursound] OT - Job listing at the University of Birmingham

[Scott Wilson]

Hi All,

We have an opening for a junior lecturer (this is equivalent to a tenure-track 
position in North American terms) which might be of interest to people on this 
list. It’s fairly broadly defined as 20th/21st century musical studies, so 
could include composition, musicology, performance, technical aspects, etc.

http://www.jobs.ac.uk/job/ANO012/lecturer-in-music-20th-21st-century-musical-studies/
 
<http://www.jobs.ac.uk/job/ANO012/lecturer-in-music-20th-21st-century-musical-studies/>

Deadline: 27 May

Contact me off-list if you’re interested and would like to know more.

Best wishes,

Scott




__

Dr. Scott Wilson
Reader in Electronic Music
Director of BEAST and the Electroacoustic Studios
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca <http://scottwilson.ca/>
Music Dept: http://www.birmingham.ac.uk/music 
<http://www.birmingham.ac.uk/music>
Studios: http://www.birmingham.ac.uk/ea-studios 
<http://www.birmingham.ac.uk/ea-studios>
BEAST: http://www.beast.bham.ac.uk <http://www.beast.bham.ac.uk/>
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx 
<http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx>
COMPASS: http://www.birmingham.ac.uk/compass 
<http://www.birmingham.ac.uk/compass>

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[Sursound] BEAST FEaST 2016: Real/Unreal 28-30 APRIL

[Scott Wilson]

Hi All, 

Please see attached the eflyer for the forthcoming BEAST Festival. For more 
info and for the full programme visit 
http://www.beast.bham.ac.uk/beast-feast-2016/ 
<http://www.beast.bham.ac.uk/beast-feast-2016/>

We hope to see you there! 

Scott 







__

Dr. Scott Wilson
Reader in Electronic Music
Director of BEAST and the Electroacoustic Studios
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
Studios: http://www.birmingham.ac.uk/ea-studios
BEAST: http://www.beast.bham.ac.uk
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass
























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[Sursound] OT: Masters Scholarships available at the University of Birmingham

[Scott Wilson]

Hi All,

Just a heads up that we have some full tuition scholarships available for 
masters study at the University of Birmingham. The deadline is April 22nd, and 
info on how to apply is available here:

http://www.birmingham.ac.uk/postgraduate/funding/College-of-Arts-and-Law-Masters-Scholarships.aspx

We would be happy to receive applications from people interested in any area of 
electronic music or related studies, both practical or (ethno-) musicological. 
We have particular interests in composition, multichannel audio spatialisation, 
popular electronic music studies, live and interactive electronic music, live 
coding, and network music systems. More info here:

Research interests: 
http://www.birmingham.ac.uk/schools/lcahm/departments/music/research/index.aspx
Studios and Facilities: 
http://www.birmingham.ac.uk/facilities/ea-studios/index.aspx
BEAST: http://www.beast.bham.ac.uk/
Postgraduate Programmes and Applications: 
http://www.birmingham.ac.uk/schools/lcahm/departments/music/postgraduate/index.aspx

Please contact me off-list if you have any questions.

Best,

Scott

__

Dr. Scott Wilson
Reader in Electronic Music
Director of BEAST and the Electroacoustic Studios
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
Studios: http://www.birmingham.ac.uk/ea-studios
BEAST: http://www.beast.bham.ac.uk
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass
























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Re: [Sursound] OT: Opportunities for Study and Funding at the University of Birmingham / BEAST

[Scott Wilson]

Actually I’m enjoying this discussion, and considering opening up a new 
research area in ‘asthmatic composition’. ;-)

S.

> On 21 Nov 2015, at 10:23, Jörn Nettingsmeier  
> wrote:
> 
> On 11/21/2015 11:15 AM, Dave Malham wrote:
>> Not quite sure how we got from defining acousmatic music to film sound,
>> but...
> 
> For the record, we got here from Scott announcing study opportunities (a hazy 
> after-image of the original intention of this thread is still visible in the 
> subject line).
> 
> :-D
> 
> 
> 
> -- 
> Jörn Nettingsmeier
> Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487
> 
> Meister für Veranstaltungstechnik (Bühne/Studio)
> Tonmeister VDT
> 
> http://stackingdwarves.net
> 
> ___
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> Sursound@music.vt.edu
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[Sursound] OT: Opportunities for Study and Funding at the University of Birmingham / BEAST

[Scott Wilson]

Hi All,

Just wanted to make you aware of opportunities for PhD and Masters study at the 
University of Birmingham. We offer:

The chance to join a department which has been a leader in the field for over 
three decades.
Expertise in acousmatic composition, live-coding, mixed instrumental/electronic 
music, large-scale spatialisation, network music, SuperCollider development, 
and phonology/soundscape composition
The opportunity to work with BEAST, our world-renowned concert system, capable 
of presenting electronic music in circa 100 discrete channels 
(http://www.beast.bham.ac.uk <http://www.beast.bham.ac.uk/>)
Access to amazing facilities in the £16 million Bramall Music Building:
Six cutting edge multichannel composition studios
The Dome Rehearsal Room, featuring the 30+ channel BEASTdome system
The Elgar Concert Hall, arguably the finest and most flexible (particularly for 
electronic music) space of its kind in a UK university
Throughout featuring bespoke acoustic design by Nick Edwards (Symphony Hall 
Birmingham, Symphony Centre Dallas, Royal Shakespeare Theatre)
Excellent equipment resources (recorders, microphones, etc.)
Opportunities to work with world class visiting ensembles (e.g. BCMG annually; 
Exaudi, Hermes, and Fidelio trio in recent years) in regular workshop sessions

More info on our research culture, staff, and facilities is available here: 

http://www.birmingham.ac.uk/schools/lcahm/departments/music/research/index.aspx 
<http://www.birmingham.ac.uk/schools/lcahm/departments/music/research/index.aspx>
http://www.birmingham.ac.uk/ea-studios/ 
<http://www.birmingham.ac.uk/ea-studios/>

Funding Opportunities

Birmingham is part of the Midlands3Cities AHRC doctoral training partnership, 
which offers up to full scholarships with a living allowance for UK and EU 
students, and opportunities for co-supervision across institutions in the 
consortium.

http://www.midlands3cities.ac.uk/midlands-3-cities/funding/funding.aspx 
<http://www.midlands3cities.ac.uk/midlands-3-cities/funding/funding.aspx> 
All applicants may apply for College of Arts and Law Scholarships and Music 
Department funding (applicants for M3C and College funding will be considered 
for the latter automatically), and there are some opportunities specifically 
for non-EU students.

http://www.birmingham.ac.uk/schools/calgs/scholarships/index.aspx 
<http://www.birmingham.ac.uk/schools/calgs/scholarships/index.aspx>
http://www.birmingham.ac.uk/postgraduate/funding/Music-Department-Scholarships.aspx
 
<http://www.birmingham.ac.uk/postgraduate/funding/Music-Department-Scholarships.aspx>
http://www.birmingham.ac.uk/International/students/finance/scholarships/index.aspx
 
<http://www.birmingham.ac.uk/International/students/finance/scholarships/index.aspx>

We also have a number of teaching assistantships and internships.

Please feel free to contact me with any questions: s.d.wil...@bham.ac.uk 
<mailto:s.d.wil...@bham.ac.uk>

Best,

Scott

__

Dr. Scott Wilson
Reader in Electronic Music
Director of BEAST and the Electroacoustic Studios
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca <http://scottwilson.ca/>
Music Dept: http://www.birmingham.ac.uk/music 
<http://www.birmingham.ac.uk/music>
Studios: http://www.birmingham.ac.uk/ea-studios 
<http://www.birmingham.ac.uk/ea-studios>
BEAST: http://www.beast.bham.ac.uk <http://www.beast.bham.ac.uk/>
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx 
<http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx>
COMPASS: http://www.birmingham.ac.uk/compass 
<http://www.birmingham.ac.uk/compass>
























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Re: [Sursound] BEAST FEaST 2016 Call for Works/Talks

[Scott Wilson]

Apologies all, but there were a couple or mistakes in this. Dates were correct, 
but days of the week were wrong. It should say that the festival runs from 
Thursday 28 - *Saturday* 30 April 2016, and that the deadline is *Wednesday* 
September 30.

A definitive version is here (on the new BEAST website!!): 
http://www.beast.bham.ac.uk/beast-feast-2016-call-for-workstalks/

Thanks,

Scott

> On 1 Sep 2015, at 18:02, Scott Wilson  wrote:
> 
> BEAST FEaST 2016 – Real/Unreal
> 
> Thursday 28 – Friday 30 April 2016
> The University of Birmingham, UK
> 
> CALL FOR WORKS / TALKS
> 
> BEAST invites you to three days of music, meeting, and ideas. As part of this 
> event, we invite submissions in the form of musical works and presentations. 
> These may include anything to do with electronic music or related fields, but 
> in particular we invite submissions relating in some way to the following 
> theme:
> 
> Real/Unreal
> 
> Electronic music exists across the boundary of the physical and the virtual. 
> The word electroacoustic highlights this contrast, with analog and digital 
> signals necessarily making the transition between electrical representation 
> and acoustic reality. Dualities of this nature are central to practice and 
> thought: concrete/electronic, insubstantial/solid, acousmatic/synthesised, 
> imaginary/real, natural/synthetic, abstract/representative, truth/lies, etc., 
> etc.
> 
> BEAST FEaST 2016 invites contributions which in some way explore, exacerbate, 
> blur or dissolve all of these intriguing, challenging, (ir)relevant, and 
> potentially false oppositions.
> 
> MUSICAL SUBMISSIONS
> 
> Works/performances of electronic music of any style are welcome. Of 
> particular interest are works for large numbers of channels, but we will try 
> to accommodate the technical requirements of any accepted work. Works 
> involving video are welcome, as are works involving live performance 
> (including instrumentalists), but note that any costs or fees arising from 
> including performers may need to be borne by the submitter. Installation 
> submissions are also welcome. While there is no hard limit on duration, 
> submitters should understand that for practical reasons, we will be more 
> likely to be able to include shorter works than longer ones. As well, since 
> we feel that community is a crucial part of BEAST FEaST, we will prioritise 
> works by artists who can commit to attending the festival. Works not 
> programmed in BEAST FEaST 2016 may be included in other BEAST events in this 
> or future seasons.
> 
> Online submission system (includes sample system schematics): 
> https://bham.onlinesurveys.ac.uk/beastfeast-2016-musicsubs 
> <https://bham.onlinesurveys.ac.uk/beastfeast-2016-musicsubs>
> TALK SUBMISSIONS
> 
> For this year we are inviting informal talks in the tradition of TED. 
> Academic topics are welcome, as are intellectually demanding ones, but should 
> be pitched for the festival audience rather than a group of scholars. Talks 
> should be 20 mins in duration, or multiples thereof. The BEASTdome system 
> (30+ channel periphonic setup) will be available for these presentations, so 
> multichannel demonstrations are possible and welcome.
> 
> Online submission system: 
> https://bham.onlinesurveys.ac.uk/beastfeast-2016-paper 
> <https://bham.onlinesurveys.ac.uk/beastfeast-2016-paper>
> DEADLINE FOR ALL SUBMISSIONS: Saturday 30 September 2015
> 
> Info: be...@contacts.bham.ac.uk <mailto:be...@contacts.bham.ac.uk> 
> (submissions sent to this address rather than the online system will not be 
> accepted)
> 
> http://beast.bham.ac.uk <http://beast.bham.ac.uk/> 
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[Sursound] BEAST FEaST 2016 Call for Works/Talks

[Scott Wilson]

BEAST FEaST 2016 – Real/Unreal

Thursday 28 – Friday 30 April 2016
The University of Birmingham, UK

CALL FOR WORKS / TALKS

BEAST invites you to three days of music, meeting, and ideas. As part of this 
event, we invite submissions in the form of musical works and presentations. 
These may include anything to do with electronic music or related fields, but 
in particular we invite submissions relating in some way to the following theme:

Real/Unreal

Electronic music exists across the boundary of the physical and the virtual. 
The word electroacoustic highlights this contrast, with analog and digital 
signals necessarily making the transition between electrical representation and 
acoustic reality. Dualities of this nature are central to practice and thought: 
concrete/electronic, insubstantial/solid, acousmatic/synthesised, 
imaginary/real, natural/synthetic, abstract/representative, truth/lies, etc., 
etc.

BEAST FEaST 2016 invites contributions which in some way explore, exacerbate, 
blur or dissolve all of these intriguing, challenging, (ir)relevant, and 
potentially false oppositions.

MUSICAL SUBMISSIONS

Works/performances of electronic music of any style are welcome. Of particular 
interest are works for large numbers of channels, but we will try to 
accommodate the technical requirements of any accepted work. Works involving 
video are welcome, as are works involving live performance (including 
instrumentalists), but note that any costs or fees arising from including 
performers may need to be borne by the submitter. Installation submissions are 
also welcome. While there is no hard limit on duration, submitters should 
understand that for practical reasons, we will be more likely to be able to 
include shorter works than longer ones. As well, since we feel that community 
is a crucial part of BEAST FEaST, we will prioritise works by artists who can 
commit to attending the festival. Works not programmed in BEAST FEaST 2016 may 
be included in other BEAST events in this or future seasons.

Online submission system (includes sample system schematics): 
https://bham.onlinesurveys.ac.uk/beastfeast-2016-musicsubs 

TALK SUBMISSIONS

For this year we are inviting informal talks in the tradition of TED. Academic 
topics are welcome, as are intellectually demanding ones, but should be pitched 
for the festival audience rather than a group of scholars. Talks should be 20 
mins in duration, or multiples thereof. The BEASTdome system (30+ channel 
periphonic setup) will be available for these presentations, so multichannel 
demonstrations are possible and welcome.

Online submission system: 
https://bham.onlinesurveys.ac.uk/beastfeast-2016-paper 

DEADLINE FOR ALL SUBMISSIONS: Saturday 30 September 2015

Info: be...@contacts.bham.ac.uk  (submissions 
sent to this address rather than the online system will not be accepted)

http://beast.bham.ac.uk  

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[Sursound] OT: PhD/Masters Opportunities at the University of Birmingham

[Scott Wilson]

Hi All,

Just wanted to make you aware of some opportunities for postgraduate studies at 
the University of Birmingham. Headlines:
87 AHRC Studentships available via Midlands 3 Cities, up to full tuition plus 
living allowance, deadline January 14th
College of Arts and Law Masters and Doctoral Scholarships, tuition or tuition + 
maintenance respectively, deadlines April 24 and 27th
Numerous smaller departmental scholarships, bursaries, and teaching 
assistantships (applicants to AHRC or College funding will automatically be 
considered for these)
http://www.birmingham.ac.uk/schools/calgs/scholarships/index.aspx
http://www.birmingham.ac.uk/schools/lcahm/departments/music/postgraduate/index.aspx

Facilities and Resources:
BEAST: World recognised system for the presentation of electronic music, 
capable of ca. 100 discrete channel presentation; opportunities to tour with 
BEAST arise on a semi-regular basis
BEASTdome: 30+ channel semi-permanent 3D sound system, used for weekly 
MiniBEAST lunchtime concerts as well as more formal events, and on an ad hoc 
basis for compositional work
State of the art studios, bespoke designed by Acoustic Dimensions (Bimingham 
Symphony Hall, RSC, etc.):
2 multichannel studios (12+ channels with height, plus subwoofer)
1 large scale multichannel studio / special projects room (24+ channels with 
height, plus subs)
1 5.1 studio
1 stereo studio / recording control room, capable of recording from around the 
building via Audio-over-Ethernet infrastructure
1 acoustically treated ‘dead’ room for source recording, soloist booth, etc.
17 Computer Mac cluster room, with extensive compositional software installed
Elgar Concert Hall: Arguably the best university concert facility in the UK, 
with incredibly flexible acoustics and infrastructure, especially designed with 
BEAST/electronic music uses in mind
Excellent equipment resources (mics/recorders/etc.) available for PG student use
Collaborative relationships with SOUNDkitchen and the Birmingham Contemporary 
Music Group; ad hoc workshops with visiting performers and ensembles
Recent areas of research of faculty and students include:

Acousmatic Composition
Multichannel audio
Field Recording / phonography
Performance practice of electroacoustic music
Live and interactive electroacoustics
Sound Installations
Works for instruments and electronics
Live Coding / Network Music Applications, usually with BEER, the Birmingham 
Ensemble for Electroacoustic Research, our laptop group
SuperCollider (use and development)
Sound Studies
Studio Culture
Crossover composition (various electronic + world/pop/etc.)

For more information contact Dr. Annie Mahtani: a.j.maht...@bham.ac.uk

Best,

Scott

__

Dr. Scott Wilson
Reader in Electronic Music
Director of BEAST and the Electroacoustic Studios
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
BEAST/Studios: http://www. birmingham.ac.uk/beast
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass

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[Sursound] BEAST FEaST 2015: Call for Works and Papers

[Scott Wilson]

We invite submissions to the following call for works and papers.

Apologies for the inevitable cross-postings!

--


BEAST FEaST 2015

Music - Space - Architecture - Place

Thursday 30 April – Saturday 2 May 2015
The University of Birmingham, UK

CALL FOR WORKS / PAPERS

BEAST invites you to three days of music, meeting, and ideas. As part of this 
event, we invite submissions in the form of papers, workshop or talk proposals, 
and of musical works. These may include anything to do with electroacoustic 
music or related fields, but in particular we invite submissions relating in 
some way to the following theme:

Music - Space - Architecture - Place

There is a long history of discussion of the interactions between music, 
architecture and space, dating back at least as far as the developments in 
polychoral music in Venice, through to early experiments in multichannel 
presentation and spatialisation of electroacoustic sound, acousmonia, the 
'spatial music' experiments of composers such as Henry Brant, and music based 
on acoustic phenomena by composers such as Alvin Lucier, Maryanne Amacher, and 
Pauline Oliveros. BEAST itself was been conceived of as a flexible and touring 
system, which by design could adapt to and even exploit the idiosyncrasies of 
the often less than ideal spaces in which it has operated. With the Bramall 
Music Building BEAST has entered a new period, both through regular access to 
the Elgar Concert Hall, a space designed specifically to host it, and the new 
BEASTdome system in the Dome Room, which diverges somewhat from traditional 
BEAST systems as a semi-fixed array of mostly matched speakers arranged across 
the surface of a hemisphere. Across Europe and elsewhere, similar 
semi-permanent systems such as the ZKM Klangdom and the Sonic Lab at Queen's 
University in Belfast have developed in recent years, making firm connections 
between physical spaces, acoustic designs, electroacoustic systems, and 
developing practice.

What are the implications of such developments? How do architecture, acoustics, 
and electroacoustic system design interact to create new musical practice? How 
does repertoire created in such locales adapt to and influence other contexts 
and means of presentation? Since such systems and rooms are almost inevitably 
tied to institutions and state support, what are the implications of access? To 
what extent have such developments undone some of the revolution in accessible 
music technology that has developed in wealthy nations through portable 
commodity-based technology

such as affordable laptop computers? Submissions on these or related questions 
(including historical aspects) are welcomed.

PAPER SUBMISSIONS

Abstract only. Talks should be 20 mins in duration, or multiples thereof. The 
BEASTdome system (30+ channel periphonic setup) will be available for these 
presentations, so multichannel demonstrations are possible and welcome.

MUSICAL SUBMISSIONS

Works/performances of electronic music of any duration or style are welcome. Of 
particular interest are works for large numbers of channels, but we will try to 
accommodate the technical requirements of any accepted work. Works involving 
video are welcome, as are works involving live performance (including 
instrumentalists), but note that any costs or fees arising may need to be borne 
by the submitter. Selected works will be programmed in BEAST Feast, or in other 
BEAST events this season.

DEADLINE: Wednesday 7 January 2015

NOTIFICATION: Friday 6 February 2015

All submissions should be emailed to 
be...@contacts.bham.ac.uk

For pieces, please provide download (Dropbox, Wetransfer etc.) or Soundcloud 
links


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[Sursound] OT: Studio Technician Job

[Scott Wilson]

Hi All,

We have a position for a Studio Technician opening here at Uni Birmingham / 
BEAST.

Info and application: http://bit.ly/1qE2sfz
Full Job Description: http://www.download.bham.ac.uk/vacancies/jd/51302.pdf

Please redistribute as appropriate.

Best,

Scott

__

Studio Technician - Music - 51302 

Applications are invited for the above post in the Department of Music. The 
Department’s Electroacoustic Music Studios, and BEAST (Birmingham 
ElectroAcoustic Sound Theatre, our large-scale multi-loudspeaker concert 
presentation system), are internationally recognised for their history of 
excellence and innovation. 

The appointee will have expertise in the use and maintenance of computer-based 
systems for electronic music composition, professional audio systems, and 
computer networking. Excellent fault-finding and diagnostic skills, and the 
ability to work flexible hours when needed are also essential. Additional 
expertise in areas such as theatrical rigging, general purpose programming, and 
video presentation would also be desirable, but not required. 

Candidates should have a degree in a relevant field or substantial professional 
experience. The appointee will be expected to take an active role in the 
activities of BEAST (Birmingham ElectroAcoustic Sound Theatre, our large-scale 
multi-loudspeaker concert presentation system) both in Birmingham and on tour, 
to contribute to the ongoing development and maintenance of BEAST and our 
cutting edge facilities for electronic music, and to contribute to the 
administration of the Electroacoustic Music Studios and sound recording 
facilities. See the available Job Description for full details of expertise and 
responsibilities. 

Informal enquiries should be directed to Dr. Scott Wilson: 
s.d.wil...@bham.ac.uk 
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[Sursound] OT: Lecturer in Music (Electronic Music Composition)

[Scott Wilson]

Hi All,

We have a job opening up that may be of interest to some list members.

Please redistribute as appropriate. (Apologies for cross-posting.)

Full specification here: 
http://www.download.bham.ac.uk/vacancies/jd/51260.pdf
http://bit.ly/1hu1Tet

General Ad:

Lecturer in Music (Electronic Music Composition)
University of Birmingham -School of Languages, Cultures, Art History and Music

Full Time, Permanent

Applications are invited for the above post in the Department of Music. The 
appointee will be a specialist in electroacoustic music composition (broadly 
defined), with experience of cutting edge aspects of the field. Secondary 
expertise in related areas of research (e.g. popular electronic music 
composition, multimedia composition, sound art, multichannel composition and 
audio spatialisation, sound recording, etc.) would also be desirable.

Candidates should have completed a PhD in an appropriate discipline and be 
engaged in active research and publication. The appointee will be expected to 
play a full part in the Department’s teaching programmes at both undergraduate 
and postgraduate levels (including supervising a substantial part of the large 
community of postgraduates working in this area), to take an active role in the 
activities of BEAST (Birmingham ElectroAcoustic Sound Theatre, our large-scale 
multi-loudspeaker concert presentation system), to contribute to the ongoing 
development of BEAST and our cutting edge facilities for electronic music, and 
to accept some administrative responsibility. 

Informal enquiries should be directed to Dr. Scott Wilson: s.d.wil...@bham.ac.uk

Closing date: 30th May 2014  

Reference: 51260

To download the details and submit an electronic application online visit: 
www.hr.bham.ac.uk/jobs alternatively information can be obtained from 0121 415 
9000.
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[Sursound] OT: New Studios / Scholarship Opportunities

[Scott Wilson]

Hi All,

Here in Birmingham we've been moving into our new facilities (part of the £16 
million Bramall Music Building). We're very excited about the new possibilities 
they offer (6 custom designed studios – 4 of them multichannel and 3 of those 
with height, a new concert hall designed with the ca. 100 loudspeaker BEAST 
system in mind, the new semi-permanent 30+ channel BEASTdome system, etc.).

We're now just about set up, and have been slowly updating our webpages. Tis 
the season (of OT recruitment emails), so I thought I'd point interested people 
here:

http://www.birmingham.ac.uk/facilities/BEAST/index.aspx

http://www.birmingham.ac.uk/schools/lcahm/departments/music/postgraduate/index.aspx

We have Masters and PhD courses, including distance learning. Possible topics 
include composition (electronic and/or mixed), real-time electroacoustics, live 
coding, network music systems, laptop ensemble stuff, sound art, multichannel 
techniques, and history and aesthetics of electronic music.

UK/EU students interested in PG study will have access to £14.6 million of new 
funding as part of the Midlands 3 cities partnership:

http://www.midlands3cities.ac.uk/midlands-3-cities/index.aspx

These have a relatively short deadline of January 9th. We also have other 
sources of funding (including for international students):

http://www.birmingham.ac.uk/schools/calgs/scholarships/index.aspx

http://www.birmingham.ac.uk/International/students/finance/scholarships/index.aspx

On top of that we have various departmental scholarships and assistantships.

Best wishes and happy holidays,

Scott


______

Dr. Scott Wilson
Reader in Music (Composition and Live Electroacoustic Music)
Music Department
Bramall Music Building
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
BEAST: http://www. birmingham.ac.uk/beast
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass



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Re: [Sursound] Giving Precedence to Ambisonics

[Scott Wilson]

On 1 Jul 2013, at 08:21, Paul Hodges  wrote:

> --On 30 June 2013 21:47 -0700 Robert Greene  wrote:
> 
>> and audio is still uncertain which mike
>> technique really reproduces the live sound.
> 
> But you see, how ever many times it gets said (and it does), the 
> discussions continue to ignore that fact that there are two independent 
> aims in recording: reproduction of an original, and generation of something 
> pleasant.
> 
> An accurate recording of an indifferent acoustic will sound indifferent. 
> The question is whether you prefer the realism of that, or the rose-tinting 
> of something which obscures or glosses over the poor acoustic.  And given 
> that the performance that took place was worthy, which approach to 
> reproduction will enable the listener to best appreciate it.  And this will 
> vary with the listeners preference (to an indeterminate extent trained by 
> their knowledge of previous recordings and the extent of their experience 
> of actually attending performances in real spaces.
> 
> For my part, I acknowledge that there are many pleasant-sounding but 
> inaccurate recordings which enable me to enjoy the music; but my interest 
> in recording happens to be in realism and accuracy.

Well put! And just to echo my last post, I think most modern recording starts 
from the position that the recording process can and often should be very 
unrealistic and unconcerned with accuracy. That certainly seems to be born out 
by most of the stuff that gets released these days. Even 'realistic' classical 
recordings are often very artificial on examination.

Ducking for cover...

S.


> 
> Paul
> 
> -- 
> Paul Hodges
> 
> 
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Re: [Sursound] Giving Precedence to Ambisonics

[Scott Wilson]

On 1 Jul 2013, at 08:12, Jörn Nettingsmeier  
wrote:

> On 07/01/2013 06:47 AM, Robert Greene wrote:
>> Embarrassing that after a century and more of recording.
>> there are NO comprehensive demo discs of what really happens
>> to controlled known acoustic sources. Really makes audio
>> look like a silly subject. One hundred years--the scientific
>> world in that time discovered quantum mechanics, relatively,
>> nuclear energym lasers,  the genetic code,
>> the human genome--and audio is still uncertain which mike
>> technique really reproduces the live sound. Embarrassing
>> altogether.
> 
> what is this rant about?
> 
> every recordist who's at least half serious about her/his tools has made 
> those very test recordings with various miking techniques, knows their 
> properties quite intimately, and choses the most appropriate for each 
> recording depending on acoustics, disposition of the instruments, and 
> above all, taste. and there are hundreds of comprehensive demos of every 
> conceivable stereo technique under the sun, with all kinds of source, 
> and recording professionals have listened to them and honed their skills 
> with them for decades.
> 
> two-speaker stereo, in terms of spatial accuracy and precision, is more 
> like a charcoal sketch than a photograph (much less a hologram) of the 
> real thing. to claim otherwise is just witch-doctoring, and no amount of 
> POA/UHJ sacred chicken blood is going to make this any more true.
> knowing this, most engineers prefer a technique which adds an additional 
> layer of abstractness or interpretation or whatever, to convey an _idea_ 
> through a _very_limited_ medium. it's a matter of personal preference, 
> and ranting about this is about as useful as pointing out to picasso how 
> a six-color inkjet would have fixed the disturbing blue tint of some of 
> his paintings, and that the perspective is a little off...
> 
> like you, i do prefer co-incident miking, but honestly, i don't see how 
> the wide-spread preference for spread omnis can be construed as the end 
> of scientific thinking.

And (putting on my asbestos underwear) surely the obvious response to 
complaints that people don't care about precise localisation is that people 
don't necessarily care about precise localisation! There are many other factors 
at play, and since most recording is as much about an artistic result as it is 
about any particular notion of accuracy, those may be more important in a given 
case.

An informed engineer can make a reasoned decision to do that, as Jörn says.

S.

PS on my way to Derby...
> 
> best,
> 
> 
> 
> jörn
> 
> -- 
> Jörn Nettingsmeier
> Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487
> 
> Meister für Veranstaltungstechnik (Bühne/Studio)
> Tonmeister VDT
> 
> http://stackingdwarves.net
> 
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Re: [Sursound] Beamforming with HOA

[Scott Wilson]

On 7 Jan 2013, at 17:51, Conor Mulvey wrote:

> 
> 
> If you are interested, check out www.VisiSonics.com to see our array and/or
> email me and we can chat.

I notice with some interest that your website includes a (admittedly somewhat 
obscured) photo of BEAST, although we have no formal connection, and I'm not 
sure how BEAST is an example of any of the applications listed in the image. 
(Security? Surveillance?)

You can see it at left here: 
http://visisonics.com/modules/mod_ppc_simple_spotlight/img/banner1.jpg

Can you tell me where this came from?

Best,

Scott Wilson


______

Dr. Scott Wilson
Senior Lecturer in Music (Composition and Live Electroacoustic Music)
Music Department
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

+44 (0)121 414 5767

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
BEAST: http://www. birmingham.ac.uk/beast
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass
















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[Sursound] [ot] PhD Scholarships at the University of Birmingham

[Scott Wilson]

Dear All,

I would like to make you all aware of three scholarships for PhD study at the 
University of Birmingham. These consist of Home/EU fees plus a contribution 
towards maintenance, and are renewable for three years (the normal duration of 
the programme).

These are targeted towards applicants in Musicology and Performance Practice 
(rather than composition), but applications in the areas of electronic music 
(including technical proposals in things like spatialisation!) and/or 
contemporary music would be very welcome of course.

See the listing under Music Scholarships here:

http://www.birmingham.ac.uk/schools/calgs/scholarships/drfunding.aspx

The deadline for applications for the scholarships is July 16th. You will need 
to have applied to the programme as well.

Best,

Scott




__

Dr. Scott Wilson
Senior Lecturer in Music (Composition and Live Electroacoustic Music)
Head of Postgraduate Studies, Research
School of Languages, Cultures, Art History, and Music
University of Birmingham

+44 (0)121 414 5767

Music Department
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
BEAST: http://www. birmingham.ac.uk/beast
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass














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[Sursound] [ot] Birmingham Fellowships

[Scott Wilson]

Hi All,

I just wanted to make you all aware of the second round of our Birmingham 
Fellows programme.

http://www.birmingham.ac.uk/staff/excellence/fellows/index.aspx

These are very generous post-doctoral fellowships, which provide you with five 
years of research focus, at the end of which the post will be transformed into 
a permanent position at senior lecturer or senior research fellow level. (For 
those of you not familiar with the UK system for academic rank, this is more or 
less equivalent to a tenured professorship in North American terms.)

There are a number of priority areas under which a music application might fit, 
but the programme is open to applications in any field.

In the Music Department we would be interested in receiving applications from 
researchers interested in areas including (but not limited to) sound analysis 
and synthesis; signal processing; audio spatialisation and spatial simulation; 
music computer informatics; experimental musical interface design; 
human-computer interaction for music; gestural control; tangible user 
interfaces; programming for audio, including experience with domain-specific 
computer music languages such as SuperCollider or Max/MSP; network audio; and 
audio recording and production. Experience as a composer is of course welcome, 
but not required.

(We'd also be interested in applications from people working within the fields 
of ethnomusicology and/or popular music studies. A Balinese gamelan specialist 
would be welcome, as we're about to be given a kebyar set!)

Best,

Scott Wilson




__

Dr. Scott Wilson
Senior Lecturer in Music (Composition and Live Electroacoustic Music)
Head of Postgraduate Studies, Research
School of Languages, Cultures, Art History, and Music
University of Birmingham

+44 (0)121 414 5767

Music Department
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
BEAST: http://www. birmingham.ac.uk/beast
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass














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[Sursound] OT - New MA at the University of Birmingham

[Scott Wilson]

Hi All,

Apologies for making an off-topic post, but I wanted to make people aware of 
our new Music MA programme. We've spent a considerable amount of time 
developing it, and we feel that what we've come up with is arguably the most 
exciting masters programme in music in the UK. It's starting up at an opportune 
moment, coinciding with our moving into new facilities, the £16 million Bramall 
Music Building, which includes new studios, concert spaces designed for BEAST 
and electronic music, etc.

I should also mention that there are four fees scholarships available for study 
on this programme, two for home/EU applicants, and two for students from 
overseas. The application deadline for those is April 26th, and information on 
how to apply is available here: 
http://www.birmingham.ac.uk/schools/calgs/scholarships/pgtfunding.aspx

Obviously, given the history of our place, we're very happy to have people 
interested in spatial audio. Details on relevant pathways are available below. 
If you have any questions please direct them to me, off-list, needless to say.

Best,

Scott
_



Music MA



This MA is a flexible programme designed to cater for those with a wide range 
of interests and specialisms. It is conceived as a 'next step' after the 
undergraduate degree, either as a stepping stone to research, as a 
qualification for teaching in the FE sector or simply to satisfy a thirst for 
development.

While some modules are common to all pathways others cater more directly to 
your interests in musicology, performance or composition. You are encouraged to 
design your own path through the programme in consultation with the convenor. 
Where appropriate to your research interests, this can include modules from 
outside music, such as language study or ethnography. You will complete the 
course with a dissertation, recital, or composition portfolio.


Composition and Open Pathways:

 Mixed Composition
 Electroacoustic Composition/Sonic Art
 Instrumental/Vocal Composition
 Open Pathway without Performance
 Open Pathway with Performance
http://www.birmingham.ac.uk/students/courses/postgraduate/taught/music/music.aspx




______

Dr. Scott Wilson
Senior Lecturer in Music (Composition and Live Electroacoustic Music)
Head of Postgraduate Studies, Research
School of Languages, Cultures, Art History, and Music
University of Birmingham

+44 (0)121 414 5767

Music Department
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
BEAST: http://www. birmingham.ac.uk/beast
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass


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Re: [Sursound] Can anyone help with my dissertation please? (Robert Greene)

[Scott Wilson]

On 5 Apr 2012, at 12:44, Jörn Nettingsmeier wrote:

> On 04/04/2012 10:09 AM, Scott Wilson wrote:
>> 
>>> why do people still fall for the BEAST?
>>> 
>>> jörn (with apologies to the birmingham crew ;)
>> 
>> Ahem...
> 
> ;-D

I figured it was a polite invitation! :-)
> 
>> http://scottwilson.ca/scottwilson.ca/News_and_Events/Entries/2010/10/27_Rethinking_the_BEAST.html
> 
> interesting food for thought, thanks for this link.
> 
>> So I'd say stereo diffusion is rather less popular than it used to
>> be, at least in my immediate vicinity.
>> 
>> Seriously though, I think stereo diffusion remains in use because it
>> is very pragmatic, and is surprisingly effective in creating a vivid
>> sonic image. It is not one which is the same for everyone in the
>> audience, but it is one which can be effective for a given piece of
>> music despite those differences. Gary Kendall has some interesting
>> things to say about why in his article in the same issue of OS.
> 
> i'll try to check it out if i can find it.

It's in the same issue as our article above.
> 
>> I think that distinction, which I'll crudely describe as (musically)
>> effective vs. consistent and 'realistic', is worth keeping in mind in
>> many cases when spatialising audio. Often the former matters a *lot*
>> more than the latter.
> 
> absolutely. however, i still think using the same number of speakers in a 
> systematic manner (or even a lot less) would ultimately yield a more powerful 
> and versatile instrument than ad-hoc stereo diffusion. of course it would be 
> a totally different instrument, and it would do a lousy job of reproducing 
> music for loudspeaker orchestra.

Well I think my point applies to more than just stereo diffusion, and one of 
the things that I hope is clear in the article is that BEAST is not really a 
traditional acousmonium anymore (if it ever was!), it's a variable, adaptable, 
and hybridised system which in any given performance has to accommodate a wide 
variety of things, often including stereo diffusion, 5.1, n-channel, and yes, 
ambisonics.

> 
>> But I think the real question is why do people still fall for
>> ambisonics?
> 
> touché, and a very valid question.

I was just teasing! ;-) But it is interesting to unpick why ambisonics vs other 
multichannel approaches.

> to me, ambisonics is quite elegant, and i like the way it converges to 
> "usable" at relatively low channel counts.
> take my word with a grain of salt, because i'm apparently one of the 
> millstones around the neck of ambisonics (you know, those young HOA zealots 
> that are working hard to undermine the grand marketing schemes of our 
> forefathers).
> 
> but compared to both WFS _and_ diffusion in the acousmatic tradition, i guess 
> HOA provides a better "return on investment" curve, i.e. a usable instrument 
> at lower channel counts, which i find quite elegant and intriguing. it is of 
> course understood that a piece conceived for either WFS or diffusion will not 
> work well on HOA, they are different concepts after all. so i don't mean 
> better in terms of "drop-in replacement".
> 
> in my mind, a loudspeaker orchestra is a huge steam engine with glistening 
> brass pipes, huge gear trains and the smell of oil, whereas HOA is a neat 
> little power tool with a lightweight Li-ION battery. it's a great experience 
> to see a huge engine come to life, and we can't emulate that effect in HOA. 
> if the purpose is just to make something turn, however, HOA is the better 
> approach. if a composer is after the steam engine experience, there is 
> nothing to discuss, and i find the experience thoroughly enjoyable.
> sometimes i just seem to find that composers just want to make something 
> turn, and they're too lazy to wrap their heads around HOA and the steam 
> engine happens to be there, so that's the default choice.

Funny, I'd have thought usable ambisonics setups would be far more common and 
accessible than big acousmonia!

Your analogies are reasonable I think though. Acousmonia at their best 
pragmatically exploit the possibilities of a given system and performance 
situation. This is something I've found useful to try and keep in the 
(sometimes massively) multichannel domain, but it requires a certain 
flexibility. People on this list might find it a little surprising to hear, but 
the requirements of ambisonics in a pure sense (i.e. your piece is just a b 
format file of a certain order), can be a bit limiting in terms of that, at 
leas IME. But what I'm really trying to get at in the article is that if you're 
careful you can have the best of both worlds, i.e. the possibility of a little 
steam if it's available, without your piece being dependant on having that. One 
or more ambisonics stems can fit into that rather well of course!

S.

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Re: [Sursound] Can anyone help with my dissertation please? (Robert Greene)

[Scott Wilson]

On 4 Apr 2012, at 06:29, Jörn Nettingsmeier wrote:

> On 04/03/2012 03:16 PM, Augustine Leudar wrote:
> 
>> 4. More composers are starting to look at ambisonics though there is
>> still some resistance to it , mainly I think because its hard to get
>> your head around. I'm still trying to work out why stereo diffusion
>> into multiple speakers is more popular to many composers than
>> ambisonics and multichannel mixing
> 
> that is a phenomenon i haven't been able to figure out either :)
> why do people still fall for the BEAST?
> 
> jörn (with apologies to the birmingham crew ;)

Ahem...

http://scottwilson.ca/scottwilson.ca/News_and_Events/Entries/2010/10/27_Rethinking_the_BEAST.html

So I'd say stereo diffusion is rather less popular than it used to be, at least 
in my immediate vicinity.

Seriously though, I think stereo diffusion remains in use because it is very 
pragmatic, and is surprisingly effective in creating a vivid sonic image. It is 
not one which is the same for everyone in the audience, but it is one which can 
be effective for a given piece of music despite those differences. Gary Kendall 
has some interesting things to say about why in his article in the same issue 
of OS.

I think that distinction, which I'll crudely describe as (musically) effective 
vs. consistent and 'realistic', is worth keeping in mind in many cases when 
spatialising audio. Often the former matters a *lot* more than the latter.

But I think the real question is why do people still fall for ambisonics?

ducking for cover... ;-)

S.




__

Dr. Scott Wilson
Senior Lecturer in Music (Composition and Live Electroacoustic Music)
Head of Postgraduate Studies, Research
School of Languages, Cultures, Art History, and Music
University of Birmingham

+44 (0)121 414 5767

Music Department
University of Birmingham
Edgbaston, Birmingham  B15 2TT
United Kingdom

Home: http://scottwilson.ca
Music Dept: http://www.birmingham.ac.uk/music
BEAST: http://www. birmingham.ac.uk/beast
BEASTmulch: http://www.birmingham.ac.uk/facilities/BEAST/research/mulch.aspx
COMPASS: http://www.birmingham.ac.uk/compass














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[Sursound] Reminder: Birmingham Fellows

[Scott Wilson]

Hi all,

On behalf of Jonty...
__

Dear Friends and Colleagues,

This is just a reminder about Birmingham's new programme for post-doctoral 
fellowships. These are five year posts, aimed at attracting world leading 
researchers, with the idea that fellows who meet their agreed performance 
targets will be offered permanent academic posts at Senior Lecturer or Reader 
level (in terms of academic rank these are the UK equivalents of a research 
returning Professor) at the end of that term.

There are two possible posts in Music, one in Creative Music Technology, and 
one in Ethnomusicology and/or Popular Music. These are grouped under the broad 
heading ‘Twentieth Century Music’, but Twenty-First Century researchers are, of 
course, welcome as well! 

For the Music Tech post, we're interested in receiving as broad as possible an 
array of applicants, including (but not limited to) researchers interested in 
sound analysis and synthesis; signal processing; audio spatialisation and 
spatial simulation; music computer informatics; experimental musical interface 
design; human-computer interaction for music; gestural control; tangible user 
interfaces; programming for audio, including experience with domain-specific 
computer music languages such as SuperCollider or Max/MSP; network audio; and 
audio recording and production. Experience as a composer is of course welcome, 
but the focus of this post is on the tech side.

For the Ethno/Popular Music post, it's similarly wide open.

Please forward this message to any potentially interested parties!

http://www.birmingham.ac.uk/staff/excellence/fellows/about/index.aspx
http://www.birmingham.ac.uk/staff/excellence/fellows/areas/twentieth-century-music.aspx

The first deadline (for the submission of an online application form, a 3-page 
CV and a 500-word research statement) will be 17.00 on Thursday, 1 September 
2011, but the call will remain open until all the posts are filled.

In case of questions, please write to me at BOTH the email addresses below (I 
shall be travelling during August and may not always have easy internet/email 
access).

Best wishes,

Jonty


Jonty Harrison
Composer
Email jonty.harri...@blueyonder.co.uk
Tel  +44 (0)121-449 2461

Professor of Composition and Electroacoustic Music
Director, Electroacoustic Music Studios & BEAST
Music Department
School of Languages, Cultures, Art History and Music
College of Arts and Law
University of Birmingham
Edgbaston
Birmingham B15 2TT
UK

Email d.j.t.harri...@bham.ac.uk
Tel  +44 (0)121-414 5787
Fax +44 (0)121-414 5668
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Re: [Sursound] OT Carla Rees

[Scott Wilson]

Thanks. To be clear (as I realised it isn't on the page, and someone asked): 
Carla did have some insurance. The problem is that given that most of her work 
involves the hand-made Kingma system instruments, she won't really be able to 
work for months, or longer.

S.

On 11 Aug 2011, at 16:10, Scott Wilson wrote:

> Dear All,
> 
> Some of you know my friend Carla Rees, who is a wonderful flutist based in 
> London. Carla has been a staunch advocate of contemporary and electroacoustic 
> music, having commissioned and premiered many pieces with her ensemble 
> rarescale over the years. (http://www.rarescale.org.uk/) Unfortunately her 
> flat in Croydon was one of those that burned to the ground in the riots over 
> the past few days, and she lost everything, including her (extremely 
> valuable) instruments. Some of these (in fact the ones which she played most 
> often) were specialist hand-made quarter-tone instruments which will take a 
> long time to have replaced. This means that not only has she lost her home, 
> but also her livelihood.
> 
> http://images.mirror.co.uk/upl/m4/aug2011/0/4/image-1-for-riots-in-croydon-monday-8th-august-gallery-302865710.jpg
> 
> Her friends are trying to organise some ways to help her get back on her 
> feet, and Jonathan Myall of Just Flutes in London has set up a page to accept 
> donations for her.
> 
> I know that some of you don't know Carla, but I'm sure everyone reading this 
> is appalled at what has happened here over the last few days, and that you 
> can all appreciate (especially those of you who also make your living from 
> music) what a blow this has been to her. This is a chance to do something 
> positive in the face of this awfulness, and show that we the 
> music/UK/World/decent human beings community also have the power to change 
> things. 
> 
> Any donation would be a help, even if it's just a few dollars or pounds. 
> Please forward this message to anyone you think might be interested as well.
> 
> Donate at: http://www.justflutes.com/fund-for-carla-rees-page66.html
> 
> Best,
> 
> Scott
> ___
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> Sursound@music.vt.edu
> https://mail.music.vt.edu/mailman/listinfo/sursound
> 

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[Sursound] OT Carla Rees

[Scott Wilson]

Dear All,

Some of you know my friend Carla Rees, who is a wonderful flutist based in 
London. Carla has been a staunch advocate of contemporary and electroacoustic 
music, having commissioned and premiered many pieces with her ensemble 
rarescale over the years. (http://www.rarescale.org.uk/) Unfortunately her flat 
in Croydon was one of those that burned to the ground in the riots over the 
past few days, and she lost everything, including her (extremely valuable) 
instruments. Some of these (in fact the ones which she played most often) were 
specialist hand-made quarter-tone instruments which will take a long time to 
have replaced. This means that not only has she lost her home, but also her 
livelihood.

http://images.mirror.co.uk/upl/m4/aug2011/0/4/image-1-for-riots-in-croydon-monday-8th-august-gallery-302865710.jpg

Her friends are trying to organise some ways to help her get back on her feet, 
and Jonathan Myall of Just Flutes in London has set up a page to accept 
donations for her.

I know that some of you don't know Carla, but I'm sure everyone reading this is 
appalled at what has happened here over the last few days, and that you can all 
appreciate (especially those of you who also make your living from music) what 
a blow this has been to her. This is a chance to do something positive in the 
face of this awfulness, and show that we the music/UK/World/decent human beings 
community also have the power to change things. 

Any donation would be a help, even if it's just a few dollars or pounds. Please 
forward this message to anyone you think might be interested as well.

Donate at: http://www.justflutes.com/fund-for-carla-rees-page66.html

Best,

Scott
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Re: [Sursound] Distance perception

[Scott Wilson]

On 27 Jul 2011, at 18:33, Fons Adriaensen  wrote:

> On Wed, Jul 27, 2011 at 01:19:50PM -0400, Marc Lavallée wrote:
> 
>> In your earlier post you mentioned that you can't explain why you like
>> virtual speakers better than using real speakers. Can you describe some
>> perceived differences? For example, how are rendered mono signals; are
>> they right in the middle or smeared between the two virtual speakers?
>> In other words, is localization better when using virtual speakers?
> 
> This is very subjective, but yes, I have the impression it is better.
> Also the speakers tend to disappear as being the sources of the sound
> and there is less interaction from the room - the sensation that the
> sound is 'just there' is stronger than for straight stereo.  But again,
> this is quite subjective and may be particular for my setup. 
> 
> If you have the required hardware I'd say: just try it !

Do you find it varies with material? People don't always say it this way, but 
sometimes increased localisation blur is nice!

S.
> 
> Ciao,
> 
> -- 
> FA
> 
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> 
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[Sursound] Birmingham Fellows

[Scott Wilson]

Dear Friends and Colleagues,

I wanted to make you all aware of Birmingham's new programme for post-doctoral 
fellowships. These are five year posts, aimed at attracting world leading 
researchers, with the idea that fellows who meet their agreed performance 
targets will be offered permanent academic posts at the end of that term.

There are two possible posts in Music, one in Creative Music Technology, and 
one in Ethnomusicology and/or Popular Music. These are grouped under the broad 
heading Twentieth Century Music, but Twenty-First Century researchers are 
welcome as well! 

For the Music Tech post, we're interested in receiving as broad as possible an 
array of applicants, including (but not limited to) researchers interested in 
sound analysis and synthesis; signal processing; audio spatialisation and 
spatial simulation; music computer informatics; experimental musical interface 
design; human-computer interaction for music; gestural control; tangible user 
interfaces; programming for audio, including experience with domain-specific 
computer music languages such as SuperCollider or Max/MSP; network audio; and 
audio recording and production. Experience as a composer is of course welcome, 
but not required.

For the Ethno/Popular Music post, it's similarly wide open.

Please forward this message to any potentially interested parties!

http://www.birmingham.ac.uk/staff/excellence/fellows/about/index.aspx
http://www.birmingham.ac.uk/staff/excellence/fellows/areas/twentieth-century-music.aspx

The first deadline will be 17.00 on Thursday, 1 September 2011, but the call 
will remain open until all the posts are filled.

(Apologies for cross-posting)

Best,

Scott


______

Dr. Scott Wilson
Senior Lecturer in Music (Composition and Live Electroacoustic Music)
Postgraduate Exams Officer
School of Languages, Cultures, Art History, and Music
University of Birmingham

+44 (0)121 414 5767

Home: http://scottwilson.ca
Music Dept: http://www.music.bham.ac.uk
BEAST: http://www.beast.bham.ac.uk
BEASTmulch: http://www.beast.bham.ac.uk/research/mulch.shtml
COMPASS: http://www.compassmusic.co.uk









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Re: [Sursound] 3DAA | Audio Alliance

[Scott Wilson]

On 23 Dec 2010, at 16:19, Stefan Schreiber wrote:
> 
> 
>> object-oriented audio is a very interesting concept, but it's not at all
>> clear how to deliver it to end users. and besides its inability to
>> represent natural recordings properly (except as an extra object that
>> basically has to be ambisonics or a similar format), there is the
>> interesting question of "copy protection": do you think hollywood sound
>> designers would like to deliver to the unwashed masses what is
>> essentially a very good discrete sample library of their very best work,
>> to be ripped off and re-used at the consumer's convenience?
>> 
> Good point, and would say that Hollywod didn't think about this. (If they 
> have been asked...)


The also don't care about 'representing natural recordings properly'. Film 
sound is usually highly synthetic and unrealistic.

S.

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