Podcasts about ambisonic

Summary In this episode of EGGS: The Podcast, hosts Ryan and Mike engage in a deep conversation with audio producer Josh Rogosin, exploring his journey from theater to audio production, the evolution of the Tiny Desk Concerts, and his new ventures with Global Sound Concerts and Ghostlight Concerts. They discuss the importance of field recording, ambisonic techniques, and the impact of technology on music experiences. Josh shares memorable performances, the challenges of capturing live music, and his aspirations for the future as he transitions into entrepreneurship. Bio for Josh: Josh Rogosin defined the sound of NPR‘s popular music series, Tiny Desk concerts. His mixes have been heard on YouTube over a billion times. Now he's starting 2 new series, Global Sound and Ghost Light concerts. He's traveling the world finding musicians where they are from, to learn why being from that place inspires them to make music. He's the Anthony Bourdain of music discovery. But instead of food, Rogosin's passion for travel is guided by his quest to seek out new music in far flung places all over the globe. Support josh's Patreon: https://www.patreon.com/c/joshrogosin Takeaways Mexico is a vibrant mix of cultures and traditions. Josh's journey into audio production began with theater. Tiny Desk Concerts revolutionized how live music is presented. Global Sound Concerts aims to explore music across cultures. Field recording techniques enhance the authenticity of sound. Ambisonic recording creates immersive audio experiences. Capturing live music is about more than just sound quality. Technology bridges the gap between live and virtual experiences. Journalism plays a crucial role in music discovery. Transitioning to entrepreneurship opens new creative avenues. Chapters 00:00 Cultural Roots and Personal Connection 02:51 The Journey to Audio Production 06:03 The Evolution of Tiny Desk Concerts 08:49 Global Sound Concerts: A New Chapter 12:08 Field Recording Techniques and Experiences 14:54 Ambisonic Recording and Spatial Audio 17:45 Capturing Live Music: The Art of Sound 21:09 The Impact of Technology on Music Experiences 23:55 The Role of Journalism in Music Discovery 27:09 Memorable Performances and Unique Challenges 30:05 Transitioning to Entrepreneurship 32:52 Future Aspirations and Global Sound Concerts 36:05 Connecting with Artists and Building Community Credits: Hosted by Michael Smith and Ryan Roghaar Produced by Ryan Roghaar Theme music: "Perfect Day" by OPM  The Carton: ⁠⁠⁠https://medium.com/the-carton-by-eggs⁠⁠⁠ Feature with Zack Chmeis of Straight Method up now!  ⁠⁠⁠https://medium.com/the-carton-by-eggs/zack-chmeis-35dae817ac28⁠⁠⁠   The Eggs Podcast Spotify playlist: bit.ly/eggstunes The Plugs: The Show eggscast.com @eggshow on twitter and instagram On iTunes: itun.es/i6dX3pCOn Stitcher: bit.ly/eggs_on_stitcher Also available on Google Play Music! Mike "DJ Ontic": Shows and info: ⁠⁠⁠djontic.com⁠⁠⁠ @djontic on twitter Ryan Roghaar: ⁠⁠⁠http://rogha.ar⁠⁠⁠

Recorded May 2022 The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces.  Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.org Follow: Twitter/X Instagram LinkedIn YouTube Game Audio: https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded April 11, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded August 2022The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded June 2020The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded May 29, 2022The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded September 3, 2021The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded December 2022The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded July 2022, The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded July 12, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded August 2020The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded June 17, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded April 11, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded June 2022The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Pause a few minutes to listen this week,The More We Listen, The More We Understand. Ovum is the third form created in a series of site specific environmental installations. Created and installed on the HB Wallace Reserve in Green Mountain Falls, Colorado through the Green Box artist residency. The pure form combined with the ponderosa bark texture results in an arresting discovery. Curiously, the sculpture exudes wonder and whimsy. Underlying is an invitation for the viewer to consider the impact of human manipulation of the environment. The title honors the strength and power of women today. Sculpture Created by Nikki Pike. Check it out HereDiscover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded July 12, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded April 11, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded April 11, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded April 2021The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded June 2020The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded June 2020The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded July 11, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

Recorded July 7, 2023The More We Listen, The More We Understand. Thank you for supporting Ambisonic Spaces. Discover more and download Binaural, Ambisonic, and Surround Sound assets for any Audio / Spatial Audio Project at AmbisonicSpaces.orgFollow:Twitter/XInstagramLinkedInYouTubeGame Audio:https://www.unrealengine.com/marketplace/en-US/profile/DavidWoje?count=20&sortBy=effectiveDate&sortDir=DESC&start=0

If you've ever taken a few minutes to listen to environmental music the Gil Hodge's Marine Parkway Bridge which connects Brooklyn to the Queens' Rockaway barrier Island is exceptionally magical.  On a steaming hot August afternoon Suzanne Morianz and I were talking about some of the sounds I like to record when she excitedly said, "the Gil Hodge's Bridge is one of the most musical sounding bridges.  Cars pass on the grated surface at different pitches and speeds. Trucks make the bridge shake, the clinging and clanging are like percussion instruments.  Boats pass from underneath and birds fly overhead.  It's truly wonderful."At roughly 3pm the following day we met at the center of the bridge and began recording this Ambisonic musical treat.  This kind of recording is best listened to with headphones however it's almost as delightful to listen to in standard stereo.  Sit back and enjoy.Note: environmental music is naturally created within our environment either by natural occurrences such as bee's buzzing or structural ping and pangs from buildings or vehicles. In other words it's music not made by humans.

In this new episode, I've decided to do my first experiment recording with Zoom H3-VR a special recorder that allows you to record in the ambisonic format.I've decided to test it in a hidden place near the sea where the waves are continuously rolling and hitting the reef.I've placed the recorder upside down in this little hole trying to capture at 360 degrees all the micro sounds on each wall of the rocks.The place is called Filtri and is a free enter beach in my hometown where a lot of young people go to enjoy the sea and drink some beers at the night in front of small bonfires.Remember that, all these recordings are taken directly by me with professional microphones and not downloaded from some online archive.If you want to know more about me, down here you find some useful links:Website

Captured July 2021.  Sennheiser AMBEO VR MixPre 6 ii Encoded to 1st Order FuMa Decoded to UHJ Stereo https://twitter.com/DavidWoje (Twitter) https://www.instagram.com/davidwoje/ (Instagram) https://www.linkedin.com/in/david-woje-5a5551175/ (LinkedIn) https://ambisonicspaces.org/ (AmbisonicSpaces.org) If you're a sound designer, field recording enthusiast, or just want to support this podcast, check out subscribing to the https://www.patreon.com/AmbisonicSpaces (Patreon Page, Ambisonic Spaces). There you will be able to not only support this podcast, but also gain access to listen to episodes in spatial, 3D, ambisonic audio, as well as download ambisonic assets to use for your game audio projects, sound beds, commercials, and anything related in adherence to the very modest https://ambisonicspaces.org/license-agreement (license agreement. ) Thanks for listening -David

Imagine yourself in a sphere of sound, not just the linear sonic information out of the left or right speakers or headphones, but all around you…how we receive the world every day. We frequently receive these subtle nuances in multi directional frequencies that vibrate through space that help us determine how we perceive the world around us. Sound can ground us in being present, move us through time or transport us to other parts of the world. It's emotional, it's personal and demands nothing short of a personal response.Everyday, natural sounds are being drowned out by human interaction, and disrupt how nature sonically communicates with us. Ambisonic Spaces is not just about exploring the world through sound, but to remind us how nature is meant to communicate with us, be conserved by us, and to protect the peace that it can provide.   Interested in showcasing your field recordings on Ambisonic Spaces?!  Preserving sound nature has given us in any way, and raising awareness that natural sounds dissipate every day is the mission. Through your recordings, we can raise awareness together.  You can subscribe to this podcast wherever you listen.  Share your sounds to be featured  https://twitter.com/DavidWoje (Twitter) https://www.instagram.com/davidwoje/ (Instagram) https://www.linkedin.com/in/david-woje-5a5551175/ (LinkedIn) https://ambisonicspaces.org/ (AmbisonicSpaces.org) If you're a sound designer, field recording enthusiast, or just want to support this podcast, check out subscribing to the https://www.patreon.com/AmbisonicSpaces (Patreon Page, Ambisonic Spaces). There you will be able to not only support this podcast, but also gain access to listen to episodes in spatial, 3D, ambisonic audio, as well as download ambisonic assets to use for your game audio projects, sound beds, commercials, and anything related in adherence to the very modest https://ambisonicspaces.org/license-agreement (license agreement. ) Thanks for listening -David

Episode NotesBarn on the farm of R. Murray Schafer and Eleanor James, Indian River, Ontario, January 19, 2022 (photo by me)Note: the text below is a transcription of the narration in the episode (sounds are described, with their source where possible)Welcome to episode 99 of the conscient podcast, the last episode of season 3, which you might recall was on the theme of radical listening. (fade in of sound of barn)I invite you to guess what is this space. There are some sonic clues. It's clearly an indoor space and yet there is a hollowing wind with a deep, rich texture... You can hear the gentle crackling of wood… the occasional slap of a rope… a squirrel. (fade out sound of barn)This soundscape was recorded on January 19th, 2022, in a barn, on a farm that belonged to composer R. Murray Schafer and is now the home of his wife, the singer Eleanor James. The farm is located near Indian River, Ontario, about 20k east of Peterborough which is the traditional territory of the Anishinaabe Mississauga people adjacent to Haudenosaunee Territory and in the territory covered by the Williams Treaty. I went to the farm to record winter soundscapes for this episode, Winter Diary Revisited, which is a soundscape composition dedicated to the memory of composer, writer, music educator, and environmentalist, R. Murray Schafer.1st floor of barn of R. Murray Schafer and Elanor James, near Indian River, ON, January 19, 2022Eleanor James, January 19, 2022, Indian River, Ontario (photo by me)While visiting the farm, I had a conversation with Eleanor James about Murray and his relationship to winter. Here is an excerpt:Claude: I'm with Eleanor James and I just spent some time in your barn. Thank you so much. I recorded a bunch of sounds, and I went into the forest and captured sounds of wind and some of the things that Murray and I did when we did the Winter Diary, which is to do this kind of yelling out, to enliven the space and get a feeling of it. (sound of snowshoeing and distant 'Hey' at the farm on January 19, 2022)Claude: There are so many things that you could talk about Murray. Any thoughts about soundscapes but also around recording and winter sounds? Eleanor: There's a couple of things come to mind, which are in his creative output and one of them is Music in the Cold. It's a lovely little manifesto done in an artistic style about how it's better to be in the North than in the South and that music in the cold is tougher and hardier and more austere and (laughs) so he goes into a diatribe about that kind of thing. He really is a Northern personality. So, you have to forgive him for going on a rant about it, but, of course, it was an artistic creation, so it was intended to be hyperbolic. I think it's quite delightful. It's got a midnight blue cover and then the title Music in the Cold.Speaking of which, he has written a wonderful string quartet called Winter Birds which the Molinari quartet of Montreal have recorded, in which his own voice occurs in the very last movement where he describes the winter of 2005 looking out his studio window at the birds feeding. We used to fill the feeders with seeds, and we'd have all kinds of little birds coming and fluttering and going and making little soft sounds. In the string quartet, he describes a whole event of birds, just fluttering and coming and going and the total silence surrounding them, not only acoustically, but visually as well. Nothing but the snow, just like it is today, with snow heaped everywhere and just these little birds making tiny fluttering sounds with their wings.There's also the piece that he wrote for choir called Snowforms which is actually quite popular, and he wrote it as a graphic score and it's written on a sort of pale turquoise green paper, and the choir reads the shapes of snow and again, those shapes were something that he observed looking out his studio window and drew graphically and then composed it so that pitches were associated with these tones. It's just a marvelous description of winter and so for Murray, all of the soundscape work that he was so interested in fed into his artistic abilities and his artistic gifts as a composer.Note: See String Quartet no. 10 - Winter Birds (extrait) / R. Murray Schafer for an excerpt of Winter Birds performed by the Molinari Quartet. See Snowforms for a performance of Snowforms by the Vancouver Chamber Choir.I re-read Murray's Music in the Cold book when I got back home to Ottawa, which he wrote in 1977, when I was 17. It's interesting to look back at this piece of artistic reflection and provocation. Here are the last 11 lines of the book: Saplings are beginning to sprout again in the moist earth.Beneath it animals can be heard digging their burrows.Soon the thrush will return.The old technology of waste is gone.What then remains?The old virtues: harmony; the universal soul; hard work.I will live supersensitized, the antennae of a new race.I will create a new mythology.It will take time.It will take time.There will be time. (fade in recording of Eclogue for an Alpine Meadow)I remember back in August of 1985, the late composer Robert Rosen, Murray and I produced a series of ecological radio programs to be performed at Spry Lake, near Canmore, Alberta. Murray was in Banff to present his music theatre piece Princess of the Stars. We each wrote a piece of music for this space.  Mine was for bass clarinet and trombone called ‘Eclogue for an Alpine Meadow' . You can hear me on bass clarinet. Murray was a mentor to Robert and myself on this project, sharing his vast experience in writing music for and with a natural environment. Note: You can hear the entire piece on the Whom Am I page of the conscient podcast website. Robert Rosen, R. Murray Schafer and me in Banff in 1985 during ecological radio programs project (photo credit unknown)Excerpt of first page of my ‘Eclogue for an Alpine Meadow' for bass clarinet and tromboneMe and trombonist (name not known) at Spray Lake, Alberta, recording ‘Eclogue for an Alpine Meadow' for bass clarinet and trombone (photo credit unknown)Murray's music, and in particular his research in acoustic ecology, have had a deep influence on many composers, educators, researchers and sound artists around the world, including myself. Among other things, Murray taught me how to listen deeply, both with my ears and with a microphone.Me, Kozo Hiramatsu and R. Murray Schafer at Hör Upp! Stockholm acoustic ecology conference, Stockholm, Sweden 1998 (photo credit unknown)I remember having long conversations with Murray about listening, radio, acoustic ecology, field recording, technology, including how it make a living as a composer. Here is a short excerpt from a conversation I had with him in July of 1990 in a restaurant in Peterborough. I apologise for the poor quality of the recording, but I think you'll enjoy listening to Murray speak about the art of listening:You probe by asking further questions. Was it inside? Was it outside? Are there a lot of people assembled there? Is there nobody there? Is this in Canada? Is it outside of Canada? Is it in Europe? You heard a train. Is it Canadian train whistle or a European train whistle? You heard a language. What language was it you heard? Any of these cues that you might have heard that would help you identify where you were and then tell them afterwards where the actual recording was made but force them to really use their ears. Did you hear any birds? Did you hear any of this, did you hear any sounds that would help you to localize? I'm just saying that that's one sort of type of exercise, which I think someday somebody should put together a package, an educational package.I just feel that one has to constantly go back to nature and listen again, look again, learn again. It's as simple as that. Anytime you get too far in touch with it, you're probably going to be in trouble. If you don't know how to come, go back and look at a butterfly, because you're so spell bound by strobe lights or something, I think you're in trouble, which is not to say that you can't go back and look at it and reanalyze it. It will change things and then you go back to your old environment and see things differently. In nature, what you're so conscious of is a cycle of life and death, and rather the interchange, that almost sine wave of life and death, but also of silence and activity and that there are certain times when certain creatures are far and certain other times when they speak and that you take in the natural soundscape. Sometimes it's hard to find those rhythms in a modern urban soundscape where everybody sounds so aggressively trying to catch the attention of everyone else.Claude: they lose touch with the balance of their lives.Murray passed away on August 14, 2021, at age 88 in his farmhouse.Home of R. Murray Schafer and Eleanor James, Indian River, Ontario, January 19, 2022Studio of R. Murray Schafer, Indian River, Ontario, January 19, 2022Shortly after his passing, I was honoured to be asked to write a remembrance piece about my personal experience with Murray. This request came from Eric Leonardson, president of the World Forum for Acoustic Ecology (WFAE) an organization that Murray helped found in 1993 at the Banff Centre and that continues its good work to this day. Kirk MacKenzie and Robin Elliott of the University of Toronto also approached me to write a remembrance piece about Murray for a series of memorials they are producing about Murray and his legacy. I decided to produce a soundscape composition instead of writing an article for this remembrance piece. Here's the story.In 1996, Murray received a commission from the Akustische Kunst department of the West German Radio, the WDR, in Germany, produced by Klaus Schöning, to record a radio program about the winter soundscapes of rural Manitoba called Winter Diary. Murray had produced many radio pieces before for the CBC and the WDR, but he needed a hand with this rather large-scale production, so he hired me as a recordist, editor and mixer, but also as a driver and scout. I was 37 at the time and was about to be married to filmmaker Sabrina Mathews and start a family in Montreal, which we did.  However back then I still had the time and energy to do a 10-day road trip and to spend weeks afterwards editing it together with Murray. We certainly had a lot of fun together on that trip(sequence of Claude and Murray laughing during the recording of ‘Winter Diary' in 1997)Me in my home studio in Montreal in the 1990's (photo credit unknown)Letter from R. Murray Schafer to me, September 27, 1998Winter Diary ended up winning the Karl-Sczuka-Prize for radio art in 1998. I was deeply moved by the jury's statement, which I think captures the spirit of Murray's composition and the essence of our collaboration in its production:It is with great autonomy and imperturbability that Schafer draws the sound spectrum of a Canadian winter into his acoustic image. From the calm sequence of concise sound events an acoustic landscape emerges, almost spatial in its presence. To the point of noiselessness, of silence, everything audible is there concretely and non-arbitrarily. It is a work which ushers its listeners to a place of unhurried, patient listening, insists upon the wealth of nuances in acoustic perception, and takes a stand against sound refuse and staged hyperactivity.Scan of the first paragraph of Schafer's Winter Diary (not Dairy :-)) essay, February 15, 1997Winter-Diary-Essay-by-R.-Murray-SchaferDownloadWhile I was doing research for this piece, I found the first draft of an unpublished, 13-page essay in my archives that Murray wrote, at his farm, on February 15th, 1997, about the creation of Winter Diary. I was so excited. It's a brilliant piece of writing about our adventures in Manitoba, but the essay also includes reflections on a number of other issues: listening, art history, philosophy, his dreams, literature, and use the microphone. I decided to create a composition around his essay. A sonic illustration and interpretation of his words. But first let me tell a bit of a story about microphones. Murray had a love – hate relationship with the microphone. Here is another excerpt from that July 1990 restaurant conversation where he talks a bit more about distant listening, which is a key element of his aesthetic:If the microphone replaces your ear, there's something wrong. And as you see in a lot of our listening that the microphone has replaced the ear. The mere fact that for instance, we demand presence on all recorded sounds and they're all close mic-ed, is a recognition of the fact that the microphone, which is an instrument for getting closeups, is respected more than our own sort of hearing experience. The fact that we can no longer listen to the distance. Now, if you're going to get involved, really, with ecology in the environment, you have to rediscover how to listen to the distance, because an awful lot of the sounds you're talking about are distant.Claude (in the field from afar, recorded at Adawe Crossing, Ottawa): Now, if you're going to get involved, really, with ecology in the environment, you have to rediscover how to listen to the distance, because an awful lot of the sounds you're talking about are distant.I think you understand what I mean. Adawe Crossing, Rideau River, Ottawa where I recorded the 'distant' passage above, January 2022With the kind permission of Eleanor James, I used excerpts from Murray's essay as the narrative for the soundscape composition that you are about to hear. I did not use any of the field recordings from our original trip in 1997, outside of those few moments of laughter. Instead, I decided to record all new material during the winter of 2022, some 25 years later, not in Manitoba, but rather around where I live in Ontario and Québec, hence the idea of revisiting Winter Diary. However, I did use some field recordings from my archives, as well as a few excerpts from some of my previous soundscape compositions. All of those are noted in the episode script. Most of the soundscapes that you're about to hear are natural but a few have been transformed using tools like GRM Tools and ‘spatialisers'. I was interested in exploring that liminal space between reality and fantasy. While recording these winter soundscapes, and it's been a cold winter so far as you'll hear, I kept thinking about what the Karl Szuckaprize jury said about Murray's interest in the ‘noiselessness of silence'. I also thought about the idea of ushering the listener ‘to a place of unhurried, patient listening'.I tried to explore the idea of patient, unhurried listening in this piece as well as the notion of radical listening.Me on January 17, 2022 recording winter soundscapes in Ottawa (photo by Sabrina Mathews)Before we start, I want to let you know that some recordings are very quiet, at the threshold of what you might be able to hear on speakers or headphones so don't worry if you hear long silences or can't make out some of the detail, especially if you are in a car or in a noisier environment. You can listen to the Winter Diary Revisited again, in high resolution.I am extremely grateful for this opportunity to honour the memory of R. Murray Schafer and hope you enjoy this sonic illustration from his Winter Diary essay.ScriptNote: This script is drawn from R. Murray Schafer's Winter Diary Essay, first draft, February 15, 1997 (sounds are described with their source where possible)(door slapping and footsteps approaching the gate and mailbox at Murray's farm in Indian River)1. gatesGate at Murray and Eleanor's property near Indian River, January 19, 2022 (photo by me)Claude Schryer came by today to plan the Winter Diary radio program for the West German Radio. After dinner we walked the quarter mile out to the road. (walking towards the gate)There was a powdering of light snow, making the landscape bright under the stars. I opened and closed the gate while Claude recorded it; then I went to the tin mailbox and flapped the lid – both are sounds characteristic of rural life in Canada. (mailbox lid and gate)The flapping got the neighbour's dog barking. Then, more distantly other dogs began to bark. Dogs were the original alarm systems in the countryside and remain so despite electronic technology. Could be a thief or a wolf out there. The message is telegraphed from farm to farm and behind every dark doorway a farmer cocks his gun. The dogs grew silent again as we trudged back. (crossfade entry of house towards fire)Entering the warm house with a fire burning brightly in the grate, I suddenly realized that we had already discovered a valuable leitmotif for our program: the contrast between warm, populated rooms(crossfade with quiet cedar forest) and the vast, cold spaces that surround them during the Canadian winter.(wind from Murray's farm, slow fade to silence)Screen door at my cottage, Duhamel, Québec, December 2021 (photo by me)2. doorsThere is a painting by Cornelius Krieghoff (1815-1872) entitled "Merrymaking" that illustrates this drama between interior and exterior. (my wife Sabrina, son Riel and daughter Clara exiting our home and walking into our yard)A party at the Jolifu Inn is breaking up and the revellers are spilling out to depart into the cold, snowy dawn. The drama of the scene is depicted in Brueghel style, but the contrast between hot interior and cold exterior is distinctly Canadian. The same theme recurs in our best novelists, for instance in Frederick Philip Grove's, "Over Prairie Trails" (1922) or in Sinclair Ross's, "As for Me and My House" (1941). The contrast between interior and exterior creates the drama between society and selfhood. Marshall McLuhan summed it up epigrammatically when he said that Canadians go out to be alone and come in to be with company while elsewhere people go out to be with company and come home to be alone. Woman skater (family friend): If you're really lucky to be at a cottage in the winter in the morning and they're almost no sounds and you'll hear a branch cracking or something…(Quiet forest with cracking of frozen trees)The hinge is the door. One sound characteristic of the Canadian countryside is the slap of a screen door. (Various door slappings from Murray's farm and our cottage)I've known it since my childhood. Of course, it is intended to keep the insects out of the house in summer but out of laziness the screen door is often left on during winter too - as mine is. The door has a coil spring attached to it so that it will slap shut quickly. Usually there is another contraption on the side with a hairpin spring to snap it firm. If it isn't oiled, it squeaks. So, the entire sound event is actually quite complex, consisting first of a swish as the door opens, then a swoosh as it closes followed by a residual snap as the second spring is released to hold it shut. (More door sounds)The subject of doors could occupy a doctoral thesis or two. Every continent and climate has its own vocabulary and rhetoric of doors as different as the languages of the people who open and close them.(More door sounds)3. trainsPassing train from simplesoundscapes e73, March 20, 2018, Montréal (photo by me)(processed L14 train whistle with GRM Evolution Tool and Dear VR Pro spatializer)Every Canadian knows the three-toned Canadian train whistle - without knowing it. Tuned to an E-flat minor triad with a fundamental at 311 Hertz, it's the most authoritative sound mark of the country, curiously analogous to the Yellow Bell or Huang Chung, which established the tuning for all music in the golden days of ancient China.(Meditation bell)The legend goes that when the tuning of the Yellow Bell was abandoned the empire would fall into ruin.(Overpass from simplesoundscapes e167 above + train passing with gate processing)Something like that is happening here, for today more and more train whistles are out of tune, and with the building of overpasses and tunnels urban dwellers rarely ever hear them. (more processed L14 train whistle)Canadian railroads all run east-west. As the authority of the railroad vanishes the east-west axis gives way to a south-north bias, i.e., American invasion. … Eventually in the far distance we hear the L14 whistle (the signal for a level crossing, long, long, short, long,) which incidentally is also the rhythm of the opening phrase of the Canadian national anthem.(noon siren excerpt from my 1996 composition Vancouver Soundscape Revisited)4. hooves'Cricket', Mono, Ontario during recording of ‘hooves' scene. (photo by me)(wind from Murray's farm) It is warmer today then yesterday and a heavy fog lies over the snow so that the acoustic horizon surpasses the visual. Frederick Philip Grove talks about getting lost in the fog in Over Prairie Trails. Then he had to rely on the instinct of his horses.(sound of horse hooves from Cricket in Mono, Ontario)Note: below is a quote from Frederick Philip Grove'sOver Prairie Trails, Toronto, 1991, p.47.‘I had become all ear. Even though my buggy was silent and though the road was coated with a thin film of soft clay-mud. I could distinctly hear by the muffled thud of the horses' hooves on the ground that they were running over a grade.' (Grade and farm sounds and return of hoove sounds)‘That confirmed my bearings… So now I was close to the three-farm cluster. I listened intently again for the horses' thump. Yes, there was that muffled hoof-beat again – I was on the last grade that led to the angling road across the corner of the marsh.‘ 5. microphonesZoom H4N Pro recording wind sounds at R. Murray Schafer farm, January 19, 2022(wind from Murray's field)What would the Prairies be without wind? (Wind from Murray's barn mixed with forest sounds in South River, Ontario)It's the keynote sound here, the one against which everything else is registered. But to record it? Impossible. The microphone hasn't yet been invented to effectively record nature's most elementary sounds: wind, rain, fire.(thunder and rain sound from simplesoundscapes e105 thunder, fire from fireplace at our cottage)The mistake in recording the environment is in trying to pull a huge spread of events, far and near in all directions, into a single focus. The soundscape isn't stereophonic, its spherical. The stereophonic preoccupation in recording results from stereoscopy rather than any real understanding of the listening experience, in which one is always at the centre. (microphone panning ventilation system)One would like the microphone to observe the same respect for figure-ground that our ears do, elevating those sounds we wish to receive and suppressing those we don't.  But of course, the microphone is not an ear, and everything is registered according to its amplitude only. Could we imagine a future microphone with a discrimination circuit to allow us to reproduce the wished-for soundscape rather than the real one? Or is that merely another form of pathetic fallacy that only the romantic recordist could hope for? Claude (from snow pellets on dried leaves in Misikew provincial park): and here's an example of a sound that is so delicate that the microphone picks it up better than the human ear. The value of the microphone is that it presents simply what is there. The tape recorder puts a frame around it, often astonishing us with the sound events our real ears have missed. 6. footstepsFootstep tracks at Warbler's Roost, South River, ON, February, 2022Claude confesses his excitement for recording. He is almost like a fighter pilot seeking out the enemy, the elusive sound object, slating his various dives at the material we've targeted for a take, hoping the desired event will occur on cue, wondering whether to stalk it silently or prompt it - or forget it and seek another campaign. "So many things can go wrong," he says excitedly. Ruefully I agree.Note: I recorded my voice saying "So many things can go wrong,"Claude (xcountry ski sequence, December 2021): When Murray and I recorded Winter Diary in 1997, we record a lot of different winter sounds but not cross-country skiing. It is a typical sound of winter in Canada and a very rich one. You can hear me skiing now, as well as people skiing beside me. Skiing sounds have number of different elements: there's the push and pull of the ski, the poles that hit into the snow and of course the breath of the skier. Sometimes you can hear the wind in the trees, snowmobiles a distance, dogs...People who live by the sea know how the colour of the water changes constantly, but one has to live with a long winter to know the perpetual changes in the sound (as well as the colour) of snow. (various foot and snow sounds)Even the lapse of an hour can alter it profoundly, and the experienced listener can pinpoint the temperature by the sound of his footsteps in it. On the cold nights it screeches. Sometimes a crust will build up to produce a crunchy quality. Or even several crusts, separated by layers of powdery snow, giving variations of dissonance with each step. (Steps on crusty snow)7. carsLumber truck passing on Eagle Road, South River, ONWe always take the most ordinary sounds for granted. Assuming cars to be universal, we forget that they sound different in different environments. (bus stuck on a hill and cars passing in Ottawa)On a country highway we recorded the approach and departure of individual cars and trucks, sometimes lasting three minutes without any other sound. (Passing truck near South River, On)Where else on earth could you do that?8. callingForest where I recorded ‘calling sounds', January 2022, Gatineau Park, QuébecClaude (Gatineau Park, Québec) : When R. Murray Schafer and I did Winter Diary, one of the sequences was called calling where we were in the forest and listening for the reverberation in a winter space and in that case, it was a forest and here I am on January 11th, 2022, in Gatineau Park. I'm going try a similar experience where I'm going to walk in a circle away from the microphone and see what that sounds like and once in a while, I'll cry out like we did back then: Hey, and you can hear the reverberation and the movement, and it's a way to experience a winter soundscape by interacting with it. So here we go.(Hey sequence in forest in Gatineau QC, January 2022)Excursion into Park. Total isolation. We realized that the only way we could give an impression of soundscape here was by making sounds ourselves, so we set up the microphone in the snow and walked away from it, calling in different directions. How far is it across the valley? What is the difference between a bare deciduous forest and a leafy evergreen one? Your voice will tell you. 9. cracksForest where I recorded ‘calling sounds', January 2022, Gatineau Park, Québec(rumble of car on winter road, stop and get out of vehicle, then silence)I came out alone in the car after Claude had gone to sleep. Never had I heard the world so silent. Is it near or far, this black landscape? (forest cracks at Murray farm)My own slightest movement makes it seem near. The frosted crack of a distant tree makes it vast. My breathing brings it close again.  Justin Winkler pointed out that the soundscape is essentially a static term, but here it seems dynamic, increasing to an infinite volume, then shrinking right inside me as my stomach growls. (simplesoundscapes e01, rumble and Guérison from Au dernier vivant les biens (1998))I turn the ignition key and am startled and relieved at the same time. My escape.10. heaterGas fireplace at our home in Ottawa, January 2022(gas fireplace starting + song based on texture of fireplace ‘pings')Strange phenomenon this morning on waking. In my dream I had been singing a solo song at some kind of gathering. I finished and everyone applauded enthusiastically.(Sound of small crowd clapping and saying nice song Murray)I awoke to hear the propane heater come on. So, the conclusion of my song and heater were synchronized but I stress that I had sung a rather lengthy song to its conclusion before the applause of the heater. I even remembered the song and sang it over again to myself while lying in bed.(Gas heater and song)Had I anticipated the end of it and paced the singing to a sound that I could somehow fore-hear? Or had the whole event occurred in the fraction of a second as the heater came on? 11. iceChunk of ice at my home in Ottawa, January 23, 2022Spotting some children knocking down some icicles in Sainte Rose du Lac, we rushed over to record them but frightened them away. (gated kicking ice blocks and skating sounds)So, we knocked the icicles down ourselves and then kicked them along the street. (more gated kicking ice blocks and skating sounds)Each chunk had a different pitch and pieces when they broke into pieces the pitch rose. I was glad to have this other form of frozen water to add to our repertoire.12. jetLocation at Murray's farm where I recorded a passing jet, January 19, 2022The sun was setting. It was totally quiet. (begin sound of jet passing)Eventually the whisper of a jet aircraft became audible. It crossed the sky distantly, its passage lasting eight minutes without any other sound interrupting it. A perfect sound event in an anesthetized environment. (end sound of jet passing and fade to gentle forest sound)Claude: I would like to conclude Winter Diary Revisited with an excerpt from Murray's 1977 book Music in the cold. Here are the last 11 lines:Saplings are beginning to sprout again in the moist earth.Beneath it animals can be heard digging their burrows.Soon the thrush will return.The old technology of waste is gone.What then remains?The old virtues: harmony; the universal soul; hard work.I will live supersensitized, the antennae of a new race.I will create a new mythology.It will take time.It will take time.There will be time. *Credits(except from the end of my composition Eclogue for an Alpine Meadow in background)I have many people to thank. Murray's essay is narrated by my father-in-law, the poet, political activist and educator Robin Mathews.  In passing I invite you to listen to an episode about his work e88 robin mathews – on radical listening & political poetry. Poet Robin Mathews and me recording narration of Winter Diary Essay, November 2021, Vancouver (photo by Sabrina Mathews)I would like to thank Robin for his skillful narration, composer Christian Calon for his technical advice and moral support, artistic director Darren Copeland and Executive Director Nadene Thériault-Copeland of New Adventures in Sound Art (NAISA) for their encouragements and for hosting me as artist in residence from February 1 to February 6, 2022, at their facility in South River, Ontario. Thanks also to Eleanor James for permission to use Murray's essay, for the photos of the farm and for our conversation and finally my wife Sabrina Mathews for her feedback, patience and support.Logo of NAISADeep Wireless festival logoMy bedroom and editing studioEagle Road, where I recorded a passing truck, South River, ONDarren Copeland setting up the Ambisonic microphone for meMe recording forest sounds, February 2, 2022, Mikisew Provincial Park, ONMe, Victoria Fenner and James  Bailey during Q&A on February 6, 2022 at NAISA NorthWinter Diary Revisited was premiered at the Deep Wireless Festival of Radio and Transmission Art on Saturday, February 5, 2022, at 7pm. La version française de cet épisode, Journal d'hiver revisité sera retrouve dans l'épisode 100 du balado conscient.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

This recording of Winter Beach Fort Tilden, NY was done using Ambisonic technologies to simulate a 3 Dimensional environment.  While this recording sounds great in stereo its best enjoyed with headphones.  

#ambisonics #spatialaudio #immersiveaudio #binaural #futureofaudio Music-making has gone through several technological revolutions: from mono to stereo over surround to 3D sound. All these revolutions started from technological progress. The artists and composers embraced the technology later on, allowing them to innovate their art form. Beethoven changed his composing style when he got a new English piano, film music changed radically when the soundtrack was introduced (instead of the live piano music accompaniment). Today a similar revolution is taking place: the technology for immersive music in 3D applications and VR is available. Artists and composers are yet to follow. A gigantic creative space is waiting to be explored by innovative and experimental bands, films and games. Steven Maes has been experimenting with sound tools for the past twenty-five years, using everything from lamp microphones to 360 video and Ambisonic immersive sound technology. Passionate about classical music, he has directed television programs, made hundreds of recordings and mastered CDs for popular music artists from Adamo to Lost Frequencies. His recordings have been praised in BBC Music Magazine Diapason and Gramophone. His DVD 392 (on Pieter Wispelwey's recording of the Bach Cello Suites) was met with great acclaim. Classica selected his recording of Debussy's La Mer (Brussels Philharmonic) as the best classical reference of all time. Recently he made recordings with London Philharmonic and London Symphony Orchestra, in 2016 & 17 Steven made two recordings that won the prestigious Echo Classic in Germany. Steven is on faculty at PXL University College in Hasselt, Belgium, where he supervises thesis projects and teaches studio techniques and is the founder of Motor Music Recording Studios. https://be.linkedin.com/in/steven-maes-494913177 http://www.stevenmaes.eu/ https://www.ted.com/talks/steven_maes_immersive_sound https://www.motormusic.eu/mm-sons https://www.youtube.com/watch?v=i3SVNMZVdXM

This week, Nick Berry joins the podcast from Las Vegas, where he is CEO of Origin Acoustics. Origin is the loudspeaker company co-founded back in 2014 by Jeremy Burkhardt, the former CEO of the beloved audio brand SpeakerCraft. Nick might be best described as the Yin to Jeremy's Yang, but they're both equally savvy businesspeople and motivational leaders who are highly respected for what they bring to the industry. Origin recently announced its acquisition of high-performance audio brand Ambisonic Systems and a new agreement to serve as co-distributor of Amina Sound, a leading manufacturer of invisible loudspeakers out of the UK. Visit www.originacoustics.com This week's episode of Residential Tech Talks is brought to you by Kaleidescape, the ultimate movie player. Elevate your home cinema now by going to kaleidescape.com!

My guests are Vic Tiscareno and Mike Henein from VZR, makers of the VZR Model One - an innovative headset designed for audiophiles, gamers, podcasters, livestreamers, etc. We discussed Vic and Mike's impressive audio backgrounds (read their bio's below), their Model One headset, why they designed it like they did, as well as Spatial, "3D" and Ambisonic audio, and much more! Hear various audio examples here: Binaural + DSP RealSpace 3D Audio Demo The Incredible Sounds of the Falcon Heavy Launch (BINAURAL AUDIO IMMERSION) 3D Audio Machu Picchu Hike (Wear Headphones) Vic “The Dude” Tiscareno Apple's former lead audio engineer Tiscareno's body of work across more than 30 years includes Mark Levinson Audio and work on many projects at Apple, where he was hired directly by Steve Jobs. Vic holds more than 20 patents on audio and acoustic design, including ones for the VZR Model One Loves music and audio, designed amps, mics and vacuum tube gear Mike Henein VZR co-founder who worked as a sound designer and supervisor for some of the biggest video games. Game audio — spacial sound Music editor in Hans Zimmer's production studio Cohost of the Audiophile Gamer Podcast, with Sir Mixalot Thanks for sharing so much with us, Vic and Mike!

Atmos, Ambisonic, Sonido Inmersivo y no se cuantas más definiciones y estándares para referirse al sonido en 3 Dimensiones, y no lo digo yo sino todo un catedrático como José Javier López Monfort, quien lleva más de una década investigando sobre tecnología de sonido en 3 dimensiones con su equipo de investigadores, así que quien mejor que él para venir a contarnos a El Conector AV todo esto? Este es el primero de dos episodios que además cierran la 2a temporada de nuestro podcast. El Conector AV es un podcast por y para los técnicos y creativos del sector audiovisual creado por Juanjo Vila y patrocinado por Avify.net la primera comunidad online que reúne a empresas y profesionales de esta increíble industria.

#3daudio #spatialaudio #ambisonic #immersiveaudio #virtualreality #asmr Martin Rieger specializes in cinematic virtual reality & 3D Spatial Audio productions, he is the founder of VRTONUNG that provides services & consulting for 3D immersive audio recording, & post-production. Over the last five years, he has worked with various VR-video productions documentaries in Vietnam, Cambodia, and Thailand, Belgium, Denmark, Bangladesh, and Kenya. Martin is also a speaker & has given a variety of workshops on 360° sound like the xr-creators-lab, co-authored at the VDT-Magazin and strives to create more awareness for virtual reality sound also by publishing dedicated information on his blog vrtonung.de/en https://www.vrtonung.de https://de.linkedin.com/in/martin-rieger

Akash Sharma is an experimental artist, archaeoacoustic conservationist, and the founder of Sound.Codes. Listen to his journey from growing up in Mumbai and studying computers and music, to now helping preserve sound heritage and acoustic signatures via multiple open-source projects! Sound.Codes is a research lab that encompasses Akash's diverse interests. This entity showcases the world of sound through avant-garde multimedia projects. See their website Follow them on InstagramListen to them on Soundcloud Like their Facebook page Watch their YouTube channel Chat with them on Twitter Akash develops custom hardware and platform agnostic software to assist audio enthusiasts. Akash also builds his own field recording binaural microphone named as Kaan. This is available on a made-to-order basis. Keep an ear out for his immersive audio experiences and interactive installations that pop up across the world. Akash is an integral part of Algorave India, part of a global algorithmic dance culture movement. He creates live music using computer codes under the aliases Substance_D and/or Old Squirrel. See their website Follow them on Instagram Like their Facebook page Akash established a studio called KarmaQuad at the village of Kalga in the Indian Himalayas.  It features an quadraphonic room, an electronic lab, a woodworking lab, and an oven. Also mentioned in this episode 423hz vs 440 hz - Abhinay Khoparzi - Acoustics - Acoustic levitation - Aguada underground watertank - Ajanta caves - Alex McLean - Anna - Arvalem caves - Ambisonic room - Archaeoacoustics - Archaeological Survey of India - Archaeology - Archive.Org - Arctic Code Vault - Area 51 - Arunachal Pradesh - Assam - Aum - Bärenzwinger, Berlin - Bhakti - Basilica of Bom Jesus - Buddhism - Campal - Carnatic music - Chalukya dynasty - Chalukya caves - Concert pitch - David Attenborough - Dhanya Pilo - EMF microphones - Equal Temperament Scale - Fibonacci - Fontainhas - Ganjam - Gharana - GitHub - Goethe-Institut Max Muller Bhavan Mumbai - Gong baths - Hampi - Hinduism - Hoysala - Jainism - Joshua “Tig3rbabu” Thomas - Kalga, Himachal Pradesh - Kinesthetic experience - Lodhi - Memory effect on water - Mimosa leaves - Napoleon Bonaparte - Neumann - Ninja - Northeastern Hill University - Orchestra setting - Penha de França church, Goa - Raia - Right to repair - Rivona caves - Samurai - Siang district - Sleep concerts - Sonic restoration - Sound healing - Sound heritage - SoundTrek - Sufi in India - Tambdi Surla temple - Tantra - The Musafir Stories (Meghalaya episode) - The Story Of - Usgalimal rock carvings - Vedic chants - Vittala temple Timestamps for reference05:00 Music and performing, as Algorave 07:17 What does Akash do in the realm of sound? 08:42 What is archaeoacoustics? 10:26 Use of archaeoacoustics in the modern day 11:53 How does gathering data for archaeoacoustics work? 16:20 Collecting audio data from a space 19:12 What is acoustic signature? 20:01 What is Sound Heritage? 23:55 Akash's work involves capturing sonic snapshots of spaces 26:19 Akash's first experience of resonating caves 29:18 Projects in the Northeast of India 30:53 Transitioning interest in sound into projects 33:00 Covering Goan archaeological sites for sound heritage 41:17 How can a layman experience sound heritage? 45:12 Some of Akash's favorite projects - Plantoid 49:10 Project with ITC to gamify nightclub experiences 54:23 Another highlight project 01:01:13 Kaan in a cage in Berlin 01:08:36 What is Sound.Codes? 01:11:14 Human-machine relationships 01:13:52 Humans, machines, and sustainability 01:18:49 Kaan - a binaural microphone 01:23:14 The beauty of binaural sounds 01:26:18 Spirituality, psychedelics, and civilizations 01:31:13 Sacred spaces and sounds 01:33:02 Acoustic levitation 01:38:19 Musical pillars in temples across India 01:42:00 The story behind 423 Hz cosmic frequency 01:45:20 Chants, 108, and cosmic frequency 01:48:42 Indigenous people and their relation to sounds in sacred spaces 01:51:55 Is there acoustic communication between plants and trees? 01:56:06 Sites, sounds, and emotions 01:58:44 Use of sound in healing and medicine 02:04:58 Archiving contemporary civilization digitally 02:11:30 Gharana music project 02:17:10 Algorave India 02:21:13 KarmaQuad 02:22:58 Upcoming projects ******* Show cover jingle courtesy of Icons8 Music by Nordgroove from Fugue Episode background tunes courtesy of YouTube Audio LibraryOrient by SefChol Sonic by Lish Grooves Sunset Riddim by Konrad OldMoney All photographs by Akash Sharma, Algorave India, & Sound.Codes, unless otherwise stated.

## A écouter au casque ou écouteurs pour une meilleur immersion sonore ! ## Captation ambisonic et design sonore : Jérémie Nicolas  Ecriture : Elodie Parmentier Casting : Mathilde Anquez Voix : James Borniche dans le rôle de Kristian, Julien Crampon dans le rôle de Sebastian, Antoine Ferey dans le rôle du restaurateur et Laura Bélorgey dans le rôle de Théa. 

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by senior academics of University of Derby Dr Bruce Wiggins and Duncan Werner via Zoom from Derbyshire, UK. Dr Bruce Wiggins graduated with a 1st class honours in Music Technology and Audio System Design from the University of Derby in 1999.  His interest in audio signal processing spurred him to continue at Derby completing his PhD entitled "An Investigation into the Real-time Manipulation and Control of 3D Sound Fields" in 2004 where he solved the problem of generating Ambisonic decoders for irregular speaker arrays and looked at the optimisation of binaural/transaural systems.  Bruce's research into Ambisonics has been featured as an impact case study in the national Research Excellence Framework in 2014 and will be again in 2021.  His latest work is based around the auralisation of rooms to very high order Ambisonics with head-tracking. Duncan Werner graduated from Aston University in Electrical/Electronic Engineering in the late seventies, but as a keen musician moved towards the music industry gaining work as a recording and touring musician in the UK and Europe, subsequently being employed by the London-based Chrysalis Music Group as studio sound engineer. This was followed by postgraduate Music Technology studies at City University London. Research interests include immersive music production, in particular the GASP system (Guitars with Ambisonic Spatial Performance) based at the University of Derby. He has been programme leader for BSc Music Technology since its inception in 1995 and is currently Programme Leader for MA Music Production. In this episode, we dive into the collaborative project GASP (Guitars with Ambisonic Spatial Performance), discuss the Sound in Space Symposium, and current research projects for immersive audio. This episode was produced by Oliver Kadel and Michelle Chan with the help of Emma Rees and included music by Knobs Bergamo. For extended show notes and more information on this episode go to https://www.1618digital.com/immersive-audio-podcast-episode-40-bruce-wiggins-duncan-werner-university-of-derby-gasp/ We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content. You can also follow us on Facebook and Instagram @1618digital. If you have any comments or questions, get in touch via podcast@1618digital.com

## A écouter au casque ou écouteurs pour une meilleur immersion sonore ! ## Captation ambisonic et design sonore : Jérémie Nicolas  Ecriture : Mathilde Anquez Voix : Louise Morel dans le rôle de Vé, Garance Morel dans le rôle de Katia, Stanislas Perrin dans le rôle de Zeph' et Mathilde Anquez dans le rôle de Laura 

## A écouter au casque ou écouteurs pour une meilleur immersion sonore ! ## Captation ambisonic et design sonore : Jérémie Nicolas  Ecriture : Elodie Parmentier Voix : Mathilde Anquez dans le rôle de Giselle, Louise Morel dans le rôle de Jeanette, Bastien Lombardo dans le rôle du gogo danseur. Ecriture : Elodie Parmentier 

London lockdown sound recorded by Brian Gilligan. "The most obvious aural change to my local area is much less traffic and more sirens. On the 26th of March I happened to have my microphone pointing out the living room window to capture this changing soundscape without realising this was the day people would be clapping and cheering to show their appreciation for NHS staff. "Hearing cheering for miles brought home the seriousness of the situation and made me feel a strong sense of gratitude toward the people working on the front line of this pandemic." Part of the #StayHomeSounds project, documenting the sounds of the global coronavirus lockdown around the world - for more information, see http://www.citiesandmemory.com/covid19-sounds

François Fripiat has been a sound engineer for over 12 years. He worked in many different fields such as sound design, audio mix, and he's been a sound supervisor for many different animation films, feature films, documentaries, etc... Passionate about spatial sound for a decade, François Fripiat founded the company Demute, a creative sound studio dedicated to new media (XR / Video Games / Immersive experiences). Demute is focusing on tech by developing new technological tools to improve immersion through sound. Our VRTL podcast host Pieter Van Leugenhagen will dig deeper to learn the different aspects within spatial sound and how it contributes to the storytelling of a cinematic VR experience.

In Folge #4 spreche ich mit Field Recordist und Sound Designer Daniel Meuser über seine Erfahrungen im Bereich Game Sound Design, Naturklänge, Ambisonic, VR und vieles mehr.

A clip from nameless: The Many Deaths of Edward Bigsby. nameless is YSDC's own roleplaying game of Lovecraftian horror, the weird and the fantastic. Recordings are available to our Patrons. This sample is in 3D binaural surround sound, evolved from an Ambisonic master (listen using headphones for best effect).

Binaural recording - listen with headphones! Live performance by Karlheinz Essl (kalimba, live-electronics) at Norges Musikkhøgskole (Oslo, Norway) on 26 Oct 2018 at the final concert of his masterclass on realtime composition. Ambisonic recording with a SPS-200 microphone rendered to binaural stereo.

A panel of experts discuss the return of the 3D ambisonic recording method and it’s implications for cinema. Mix Magazine presented the fifth annual Sound for Film and TV event, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. The boom in television and streaming services, along with the emergence of Virtual Reality, has led to a technology/workflow change in how content is produced. The techniques and tools are merging, and studios and producers have adapted their methods. We bring film, television and virtual reality all together on the legendary Sony Pictures Studios lot in Culver City, California on October 13th, 2018.

I sat down for my yearly checkup wearing a Sennheiser Ambeo Smart Headset.

Linea di stitching 008 - Lo spatial audio con Massimiliano Borghesi. A fine 2017 ho incontrato Massimiliano Borghesi e abbiamo chiacchierato un po' del mondo del video immersivo ma soprattutto di spatial audio.Per scoprire di più sul mondo del video immersivo e della realtà virtualehttps://360.fluido.tv

Thomas Voyce is sonic artist in residence at Toi Poneke Arts Centre in Wellington. On the 13th, the sound artist, studio boffin, and musician begins an exhibition of his work called Octophonic-Ambisonic. Thomas was also a founding member of dub band Rhombus, and has studied electroacoustic composition to a PhD level at Victoria University.