3 ATMM 2012 PROCEEDINGS
4 Audio Technologies for Music and Media International Conference Bilkent University Faculty of Art, Design and Architecture Department of Communication and Design Bilkent, Ankara, Turkey Phone:
5 ATMM 2012 PROCEEDINGS CONTENTS Introduction Defining the Digital: The Association Between Visual and Aural Languages in Contemporary Culture Gelenekten Gelecegĕ: Bir Perku syonistin Ses Teknolojileri Üzerine Performans Soÿles isi Segmented Filtering Approach in Audio Mastering Applications Stu dyo Kontrol ve Kayıt Odası Akustigĭ: Bir Akustik Du zenleme Uygulaması MIDI Piyano Esļiklerinin Keman Egĭtiminde Kullanılmasına Yo nelik Örnek Uygulama C alıs ması Wavelet Transform As a Popular Signal Analysis Approach and Common Applications Melbourne, a City Symphony - Sound Design & The Locative Artwork Open Sound Control (OSC) Protokolu : Yapısı ve Özellikleri Mu zik Produ ksiyonunda Bir Endu stri Standardı Olan Pro Tools ic in Avid Onaylı Egĭtim Programları: Du nyadaki ve Ülkemizdeki Uygulamaları Watching the Sound: Tango and Its Mediation Through the European Cinema Yeni Bir Okuma Medyası Olarak Tu rkcȩ Sesli Kitaplar
6 Miks: Sadece Teknik Bir Zanaat mı, Yoksa Bir Sanat mı? Using Multimedia Intelligent Tutoring Systems in Educational Approaches: More Emphasis on Audio Implications Microphone Techniques for Bag lama Recording The Role of Sound and Music in Film and Computer Games: A Demonstration of How Two Different Studies of Sound and Music Production Can Change the Spirit of a Short Film Mu zigĭn Siyasal I letis im Aracı Olarak Kullanımı: Tu rkiye'de 24. Do nem Milletvekili Genel Sec imleri Mu zik Teknolojisi Lisans Egĭtiminde Tu rkiye'de I lk Kurum Dokuz Eylu l U niversitesi Mu zik Teknolojisi Anabilimdalı'nda Egĭtim Teknikleri ve Uygulanan Program Ses Teknolojisi Kapsamında 90'lar Sonrası Tu rkiye'de Yayıncılık Sekto ru ve Yayıncılıkta Mikrofon Tercihi Üzerine Bir Aras tırma Dream(y) Soundscapes GNU/Solfege Yazılımının Temel Mu zik Teorisi Egĭtiminde Kullanılması Üzerine Contested Spaces of Acoustic Community in Post-Migrant Theatre Three Technological Revolutions That Radically Altered Music As an Entity, From a Musicological Perspective As ure: Tradition Meets Electroacoustic Music
7 ATMM 2012 PROCEEDINGS 7 INTRODUCTION Audio Technologies for Music and Media (ATMM) is an international interdisciplinary conference that focuses on the various aspects of audio, audiovisual and music technologies for music and media, and, also, on the relationship between sound, music and image in both traditional and new media. ATMM 2012 was hosted by the Department of Communication and Design on 1-2 November 2012 at Bilkent University, Ankara, Turkey. ATMM 2012 s keynote speech was delivered by longtime music industry veteran Bobby Owsinski. Apart from opening remarks (by Bilkent University Rector Prof. Dr. Abdullah Atalar and Ufuk Önen & Teoman Pasinlioğlu) and keynote speech by Bobby Owsinski, 24 presentations, three musical performances and a panel about music technology education took place. First of its kind in Turkey in the fields of audio technologies for music and media, ATMM 2012 brought together professionals, academics, practitioners and students, not only from various cities in Turkey but also from other countries as well. ATMM 2012 was sponsored by Bilkent Üniversitesi, US Embassy Ankara, SAE Institute, Sinerji-Vass, Müziktek, Sound magazine and Çağdaş Sanat Merkezi (Ankara).
8 AUDIO TECHNOLOGIES FOR MUSIC AND MEDIA 2012 INTERNATIONAL CONFERENCE (Bilkent University) (Independent Researcher) (Interelektro) (Bilkent University) (Ankara University) (KV331 Audio) (Voispectra) (Ankara University) (Bilkent University) (Bilkent University) (Independent Researcher) (Müziktek) (İnönü University) (İnönü University) (University of Exeter & Sabancı University) (Voispectra) (Bilkent University) (KV331 Audio)
9 ATMM 2012 PROCEEDINGS 9 (Rector, Bilkent University), (Bilkent University), (Independent Researcher). (SAE Institute), (İnönü University), (Independent Researcher), (Bilkent University). (Bilkent University), (Ankara University), (Bilkent University), (İnönü University), (Bilkent University), (SAE Institute), (İnönü University).
10 (RMIT University, Melbourne), (Microsoft), (Hacettepe University), (Niğde Üniversity), (İnönü University), (İnönü University), (Aksaray Üniversitesi), (Özdem Müzik), (Modern Müzik Akademisi), (Bilkent University), (Islamic Azad University, Iran), (Hacettepe University), (Sebit), (Technological Educational Institute of Epirus), (Sabancı University), (Sabancı University), (MK2 Yapımcılık), (Dokuz Eylül University), (Dokuz Eylül University), (Independent Researcher), (NB Yapım), (Çankırı Karatekin University), (Voispectra), (Independent Researcher). (Bilkent University). (Bilkent University). (Bilkent University), (Bilkent University). (Bilkent University),.
11 ATMM 2012 PROCEEDINGS 11 DEFINING THE DIGITAL: THE ASSOCIATION BETWEEN VISUAL AND AUDITORY CULTURES IN CONTEMPORARY CULTURE Abstract The paper explores the emerging patterns in visual and auditory cultures inherent in contemporary culture, namely the digital culture. These domains, where meaningful content is generated and communicated through, are constructed within the same contemporary culture and shape the same culture via technological, communicational, sociopolitical, and socioeconomic factors. The illustration of the patterns suggest that these two domains -visual culture and auditory culture- function through similar set of rules, conventions, behaviors and factors that manifest the operational logic of digital culture. Introduction Digital culture is shaped by the progression of new technologies, new ways of thinking, and interrelations and interactions between people and other components. Its digital and interactive nature call for new audiovisual formations that generate new meanings, new creative and expressive acts. These formations, creative and expressive acts function as signifiers that highlight the significance of production, distribution, and consumption processes within digital culture. Within this interactive milieu, sound and image play crucial roles in generating and communicating new data. Visual and auditory cultures are inherent in contemporary culture and they operate as sub-systems of the culture. Since this contemporary culture has a digital structure, these two cultures correlate through how they are constructed within this milieu. The way they are shaped and operate on various levels manifest that they acquire similar operational logics. When analyzed it becomes apparent that different modes of production, distribution, consumption, reproduction, sharing, listening, seeing, and acting on, which share parallel origins and logics, are imprinted in digital culture. Sound became a significant element in contemporary culture, which was visually predominant. The recording technologies enabled sound to be recorded, analyzed and generated. Therefore, the ephemeral nature of sound became no longer an obstacle for further research and production. Developing technologies and how these technologies are processed made possible the emergence of new production, distribution and consumption methods. Thus, sound as a domain gained its rightful place next to visual domain. In addition to visual culture, in order to grasp the operational logic of digital culture one has to investigate also the auditory culture. Although, aural and visual fields have their domainspecific characteristics, they also act as complementing elements within digital culture.
12 This paper intends to highlight the key features of visual and auditory cultures through various examples from each domain. Different examples manifesting the general principles, learned conventions, and repeated connotations that play crucial roles in shaping a memory that belong to these domains are investigated. As these cultures are structured through the factors and conventions within the digital realm, similar patterns emerge through these analyses. Although these cases, when considered separately, are assumed to act on domain-specific logics, when inspected within the digital culture, -also in multimedia works- are expected to designate that through their study the structure and the features of digital culture will become apparent. Language is always shaped within the culture. It designates how we communicate, convey content, and what we are communicating. It acts as a shell that reshapes the content that is being transmitted. This shell is shaped by general principles, learned set of rules, conventions, shared behaviors, and collective memory inhabiting the society of the culture. Visual and auditory cultures acts as systems that share some common grounds between the people who use, are exposed to and consuming them. Both auditory and visual cultures possess domain-specific features that depend on these set of rules, learned behaviors, conventions, and repeated connotations. These cultures, where meaningful content is generated and communicated through, are constructed within the contemporary culture and shape the same culture via technological, communicational, sociopolitical, and socioeconomic factors. The first similarity between the visual culture and the auditory culture is the existence of the different modes of seeing and listening. Both domains allow different concentration and focusing levels that affect the viewing or listening experiences. The intellectual effect paid during looking and hearing is on a different level than the intellectual effort spent during seeing and listening. Looking and hearing are physical sensations, whereas seeing and listening require knowledge, experience and the awareness of a collective memory. As John Berger s famous statement indicates "The way we see things is affected by what we know or what we believe" (8). What we know and believe is shaped by the culture that we are born into and the ideologies, which dominate that culture. The relationship between that visual culture and how it is appropriated to the contemporary culture, namely the digital culture that we are all a part of now is worth consideration. First and foremost, it is quite important not to fall into a technologically deterministic point of view while discussing digital culture, yet the effects of the technology that enabled the digital culture is undeniable. However, one must keep in mind that new ways of thinking and new modalities also lead to the development of such technologies. There are not only images but also texts as visual representations almost everywhere, on streets, television, in and on transportation vehicles, magazines, in shopping malls, on the Internet, on mobile devices, etc. Within the information age, where we use digital devices as our extensions, everyday we are exposed to vast amount of visual representations through the screens and their interfaces. These images manifest themselves as representations that were encoded and decoded based on cultural conventions and learned patterns. These images are produced and interpreted in various ways that results in the emergence of new information and content. The production, distribution and consumption of these visuals, triggers new cultural and social interactions between the producer, the viewer/interpreter and the content.
13 ATMM 2012 PROCEEDINGS 13 The interfaces that we use to access data and interact with the devices as Manovich stated act as cultural interfaces (70). So, within the designs, the outlooks, the sounds, functioning, and the way we interact with these devices, familiar cultural understructures are operating. Those visual and auditory acts are already carrying their characteristics to the digital level. The visual practices and experimentations are shaped in reference to the ways we see things. Hence, as new cultural formations and creative acts emerge, new visual practices start to be manifested. In order to visually communicate, both the encoder and the decoder of the content must agree on the ways that the visual elements are coded and how they are understood by the viewer. For instance, in a graphic design work the composition is prepared in a way that "an immediate positive visual effect is created by the hierarchical consistency of all the elements populating a closed system." (Anafarta). So, there are some general principles a designer would likely to follow such as hierarchy, closure, sub-division, and inter-congruity, in order to convey her message to the viewer. However, one must not forget that, as Hall also stated, there is always room for the viewer to interpret the message differently because of her social, cultural, and economic backgrounds (4). This is one of the key factors that the digital culture is built upon, the notion of a participant as an active agent. The visual practices of the 20th century, especially visual art practices play immensely with these codes and set of rules that are part of the culture in order to create a subversion that will evoke a reaction in the viewers mind and change the statuses of the art, the artist and the viewer. Especially the avant-garde artists of the early 20th century reacted against the institutions that govern the art scene by deciding on what is art, who is the artist and the interaction between the work of art, the artist and the viewer. In that sense, the avant-garde art movements served as cultural revolutionary acts that tried to dissolve the boundary between art and the everyday life (Staniszewski 227). The underlying theories that governed these movements reflected on the methods, tools, technologies, and the media that they used. Futurists celebrated new technologies, machinery, speed, noise. Marinetti and his contemporaries sought the printing press and the radio as tools for making propaganda. Marinetti's typographic posters were intended to create a new visual language which acquired active participation from the viewer in order to be interpreted. Dadaist artist Heartfield used photomontage technique to create collages that criticizes fascism (231). In the 1920s Bauhaus used the assembly line technology to create a universal language through the usage of timeless designs. In the 1960s and 1970s the Conceptual Artists took a step further and artists like Joseph Kosuth with his work One and Three Chairs (1945) questioned the idea of the object and it's forms of representation. The Situationist Internationals, the Fluxus movement and the others all signified a constant change within the culture and the way the meaning is generated and consumed. When we move onto the 1980s, the introduction of the Macintosh computer in 1984 indicated the beginning of a new era that would cause a rapid change and reshaping of the cultural formations that were going under a slow but a gradual shift. Digital technologies enabled the numerical representations of both the visual and aural elements, which meant the digitization of the content that transforms the continuous data into discrete data (Manovich 28). Among the most important features that computers manifested are the concepts of layering and transparency that were also the features of Adobe Photoshop and Adobe After Effects, which were mentioned by Lupton in "Learning to Love Software: A Bridge Between Theory and Practice" too (70-72). The visual content could now be processed in a way that produces new visual representations that are unique
14 to the digital culture. Moreover, the text has now gained the same rights as the image, since, it is also being digitized and represented on the screen via pixels. Thus, the shell in which the content resides reshapes itself and opens up to new semantics and new readings. Digital technologies do not only act as tools that the visual artists or designers produce content with, but also they are the media that these contents are produced for. So, it is only natural that both visual and auditory cultures are appropriated even altered to inhabit within the digital culture. The way we access content on a digital apparatus is a very different experience than seeing a content in old media, such as in a newspaper, a magazine or on a television. Not only how we concentrate on a computer screen, tablet computer or a smart phone has changed but also the gestures that we use to access that content has changed (i.e.: the gestures used on touch screens such as tapping, pinching in and out, swiping, etc.). We still read newspapers, books, magazines, watch television, listen to the radio on a daily basis, but when compared to the amount and the frequency of times we check our digital devices, for instance, to see if a new mail has arrived or if a new notice or a piece of information is being published, the behavioral change becomes obvious. The possibility of instant access to the dynamic content that is repeatedly being updated may trigger the frequency of usage (Oulasvirta et al. 112). So the digital culture, while borrowing conventions and patterns from visual and auditory cultures, it also triggers new behavioral patterns as well. Visual culture has been the dominating culture in the West when compared to auditory culture. Auditory culture, mostly because of sound s nature of being ephemeral, did not received the attention that it deserved. However, with the introduction of the recording technologies, sound became a collectible digitized data that could be sampled and analyzed. Furthermore, the development of audio technologies created a mutual interest in the new possibilities that might be achieved through the use of that technologies. Before reaching the digital age, auditory culture also underwent a similar history and shaped the culture and is shaped by it accordingly. The auditory culture evolved considerably during the course of the 20th century. Sound inhabits its own time and dissipates quickly (Kahn 5). However, as mentioned before, with the help of recording technologies the sound can be recorded, analysed and sampled. Another characteristic of sound is its ever-changing relation with its surrounding. "Sound s relation with time and space continuum is different from a visual element s relation with it, since, sound is formed of waves, it does not occupy a visible pictorial space" (Şenova Tunalı 39). Through the emergence of Industrial Age, the Russolo's famous sound making machines: intonarumori's, Erik Saties' furniture music, Edgar Varèse's organized sound, Pierre Shaeffer's musique concrète, and later on Karlheinz Stockhausen's, John Cage's, Brian Eno's and the other musicians' and sound artists' deserving experiments and productions in the auditory domain, sound became significant and determinant actions in the art scene. The main elements that played the leading roles within the musical compositions started to change. The Western Classical Music was based on harmony and melody. Then the focus has shifted from the system of music that is formed with the wanted, filtered and desired resonances, which is purified from the unwanted resonances towards the background sounds that were neglected and eliminated (40).
15 ATMM 2012 PROCEEDINGS 15 The digital recording technologies enabled generating new sounds, which do not imitate their sources, that have new signifiers, new sounds that belong to the digital culture. The concept of glitch can be considered as a well-suited example of this new entity that belongs especially to the digital culture's domain. Glitch is a minor malfunction that occurs in the system, but does not effect the operation of the system. However, a glitch effects the viewing or listening experience of the viewer/listener. A glitch is an unexpected, unforeseen hick-up in the system that is different from a bug in the sense that a bug can be debugged, but a glitch cannot be. So, glitch occurs as a manifestation of digital culture, since it acts as a reminder of the technology used. Thus, it operates on the concept of hypermediacy. As Bolter and Grusin stated "in every manifestation, hypermediacy makes us aware of the medium or media and (in sometimes subtle and sometimes obvious ways) reminds us of our desire for immediacy" (34). Because of the reason that a glitch is an error, an unwanted entity within the system, the artists and designers used glitch as a subversive element again, similar to those of the avant-garde artists, to shock and awaken the society. The auditory and visual artists and designers working with this concept in mind such as Kim Cascone, Aphex Twin, Oval, Mouse on Mars, Iman Moradi, Antony Scott regenerated visual or auditory glitches through the usage various methods such as interfering with the hardware or software, data-bending, using plug-ins to generate glitch visuals or glitch sounds. So glitch, became the signifier of the digital age. However, the culture always commodifies what it seems appropriate. Although, glitch emerged as a subversion, similar to the works produced by the avant-garde artists, which criticise the status-quo of the society, and the ideologies operate on culture, it is also commodified and transformed into products to be consumed by the culture. These changes that altered the definition of the audio work from the autonomous artwork towards an open-ended piece, whose meaning is regenerated and reinterpreted every time that it is performed, or whose meaning of the content differs based on the listener and the environmental factors. The Internet and the hardware and software interfaces, the computer/tablet/phone and the virtual interface that provides easy and quick access to a high quality data also altered the amount of time that we spend on that content. The hypertextuality of digital media created a remix culture where the user moves quickly from content to another while being exposed to a vast amount of data. The way the auditory culture is reshaped also reshapes the way we interact with the tools, devices, and the content. The rush we live as we reach our pockets to check what message or mail has arrived as we hear the sound that is assigned to the notification of the incoming mail/message is only one example out of many. The quick access to another software operating on the computer via a keyboard shortcut, as we hear a notification sound regarding that program is another example. The music video games where the user/player uses controllers or devices that simulate real instruments, mobile phone applications where the user plays with virtual replicas of the instruments, or where the game play offers a completion of a musical composition as the player progresses are mere examples of where we are actively interacting with the audio content that we could not think of or imagine before the digital age. Both the developments and the flux in the visual and auditory cultures reshape the digital realm. The viewers/listeners become active participants who are given (a limited) freedom by permitting her to choose the desired content out of a number of choices and allowing for new methods of access and production, distribution, reproduction, and consumption that create new semantics and new creative acts. The consumers of these content become collectors, distributors, creators, and critics of these digital data.
16 The auditory and visual cultures have their domain-specific characteristics that are constructed by the developing technologies alongside with the renewing and changing ways of thinking, evaluating and production, distribution and consumption that offer space for new ways of creative acts, and call for new semantics that would replace and renew the conventional courses of production, perception, reception and apprehension. These two domains shows similar paths of development and innovation which act on the development of technologies and are also influenced by them. This paper tried to figure out the key features of visual and auditory culturethrough various examples through discussions from each field. Different examples manifesting the formation of a collective memory that is shaped by and shapes general principles, learned conventions, and repeated connotations are examined. Conclusively, it can be said that, today the auditory and visual cultures act as sub-systems of a bigger cultural formation, namely the digital culture. Although, their domain-specific features creates variety and diversity that are greatly needed for the operation of the digital culture, the familiarities in their courses are manifested as the defining key elements of the digital culture and its operational logic. References Anafarta, Orhan. "Sense of Order." FA 101, Basic Design Studio. Department of Graphic Design, Bilkent University, Ankara, TR. October Lecture. Berger, John. Ways of Seeing, Based on the BBC Television Series with John Berger. London, England: The British Broadcasting Corporation, Print. Bolter, J. David, and Richard Grusin. Remediation, Understanding New Media. 1st edition. Cambridge, Massachusetts: The MIT Press, Print. Hall, Stuart. Encoding and Decoding in the Television Discourse. Centre for Contemporary Cultural Studies, Birmingham: University of Birmingham, Print. Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, Massachusetts: The MIT Press, Print. Lupton, Ellen. "Learning to Love Software: A Bridge Between Theory and Practice." Artifact 1.3 (2007): Print. Manovich, Lev. The Language of New Media. Cambridge, MA, London: The MIT Press, Print. Oulasvirta, Antti, et al. "Habits Make Smartphone Use More Pervasive." Personal and Ubiquitous Computing (January 2012): Print. Staniszewski, Marry Anne. Believing is Seeing: Creating the Culture of Art. New York, NY: Penguin Group, Print. Şenova Tunalı, Funda. "Interpreting 'Glitch'; The Manifestation of Digital Culture: A Study on the Association between Contemporary Sound Design and Digital Typography." Ph.D. Diss. Bilkent University, Print.
17 ATMM 2012 PROCEEDINGS 17 GELENEKTEN GELECEĞE; BİR PERKÜSYONİSTİN SES TEKNOLOJİLERİ ÜZERİNE PERFORMANS SÖYLEŞİSİ Abstract The definition of percussionist and drummer of the New Age has changed with using electronic drums and percussions along the acoustic instruments. Because of the fast development of nowadays technology, musicians can create their own sound in virtual environment and use these for playing live on these on stages and becomes giant orchestra as a one-man. During a performance, sounds can change from one song to another as musician wishes and creates synthesis. Using electronic instruments together with computers in educations makes work easier for both educators and students. Meanwhile musicians can have billions of fans with their videos and musics without any help of recording labels and productors. By using social networks, musicians can earn money and find jobs in their home studios. Özet Yeni çağın perküsyonist ve davulcu tanımı, sahnelerde akustik enstrümanların yanı sıra elektronik davulların ve perküsyonların da yerlerini almasıyla değişti. Günümüzün hızla gelişen teknolojileri sayesinde artık perküsyonistler ve davulcular istedikleri sesleri sanal bir ortamda istedikleri şekilde yaratabiliyorlar, bu yarattıkları sesleri sahnede kullanarak üzerlerine canlı performanslarını sergileyebiliyor ve tek kişilik dev orkestralar haline gelebiliyorlar. Bir konser sırasında perküsyon ve davul soundları bu teknolojiler sayesinde dilediğimiz şekilde bir parçadan diğer parçaya değişiklikler gösterebiliyor, farklı sentezler yapılabiliyor. Müzik eğitimlerinde de bilgisayar ile elektronik perküsyon ve davullar kullanmak eğitmenlerin ve öğrencilerin işini kolaylaştırıyor. Aynı zamanda plak şirketlerinin ve prodüktörlerin dışında müzisyenler kendilerini videoları ve müzikleri ile insanlara tanıtabiliyor, sayısı milyonlara varan hayran kitlelerine ulaşabiliyorlar. Sosyal ağlar sayesinde sayısız iş imkanına ulaşabiliyor ve evlerinden çıkmadan müzik yaparak para kazanabiliyorlar.
18 YENİ ÇAĞIN PERKÜSYONİST VE DAVULCU TANIMI İnsan ilk defa müzik yapmaya, kemiklerle, ağaçlarla başladı, ilk önce ortaya ritim çıktı... En eski enstrümanlara bakığımız zaman bin yıllık kalıntıların arasından karşımıza bunlar çıktı. En ilkel halimizin kendisi ritmik idi, en gelişmiş halimiz yine ritimle, belki daha sıradan, daha tekrarlara dayanık taştan duvarların arasında ama en çıplak halimizin masumiyeti ile belki de. Kemikler zamanla yontuldu, ağaçların üzerine deriler eklendi, kültürler birbirleri ile etkileşime girdi, köleler dünyaya enstrümanlarını taşıdı, batı ve amerika teknolojilerini o enstrümanlara kattı, insanlık sonunu hazırladı belki sanayileriyle ama arka planda -belki yanlışlıkla- en büyük kültürel hamleyi yaptı yılında Graeme Edge (The Moddy Blues) tarafından ilk elektronik davulun atası tasarlandı, daha sonra 1976 yılında Pollard Syndrum tarafından ilk resmi elektronik davullar üretilmeye başladı. Bununla beraber artık yeni tarz bir davulculuk ortaya çıkmıştı; elektrik davul ve perküsyon enstrümantalistleri. Bildiğimiz bilmediğimiz bir çok davulcu da o günden bu güne elektronik davulları kullanıyor. Roger Taylor (Queen) den Alan White (Yes) e Mike Portnoy (Dream Theatre) dan Neil Peart (Rush) vs... Akustik davul kullanıcıların ilk önce ekstra ses ve yardımcı birer eleman olarak gördükleri elektronik davullar; artık başlı başına birer enstrüman olarak karşımıza çıkıyor. Birçok davulcu ve perküsyonist artık sadece elektronik davullardan ve perküsyonlardan oluşan setler kullanıyor. Örnek olarak Michael Shock, Ömer Hakim, Johnny Rabb gibi davulcuları verebiliriz. Bu konuda en güzel açıklamayı Ömer Hakim yapıyor, Rolan V-Drums a verdiği röportajda, nasıl elektrik gitarla akustik gitar arasında hem çalım tekniği, hem ses, hem de tarz farkı varsa, elektronik davul ve akustik davul arasında da aynı farkın olduğunu ve elektronik davul ve perküsyon çalıcılığının yeni bir enstümantalistlik yarattığını söylüyor. Hibrit kullanımlar da karşımıza daha modern olarak çıkıyor, artık en etnik müziğin içinde bile elektronik unsurlar, looplar, samplerlar yer alıyor, müziğin tınısı her geçen gün daha çok öge barındırıyor. Bu konuda da bir çok film soundtrackinde yer alan Azam Ali örneğini verebiliriz. Günümüzde en klasik ekolden müsizyenden, jazz müzisyenlerine, en sert rock müzisyenlerinden, pop müzik icracılarına herkes artık bu birlikteliğin zevkini yaşıyor. Artık her ana tarzın bir elektronik yansıması var. Elektronik davulları ve perküsyonların amaçlarını ikiye ayırabiliriz. 1. Kısımda gerçeği taklit edip akustikle verdikleri savaş. -Tabi büyük bir parantez açacak olursak avantajları açısından hem ağırlık, hem taşınabilirlik, ses seviyeleri, müzik sistemlerine rahatlıkla bağlanabilmeleri, mikrofon ihtiyacı olmadıkları ve temiz sinyaller gönderebildikleri kayıt kolaylıkları cabası.- 2. Kısımda yapaylıkları, yapmalıkları ile ortaya çıkarmaya çalıştığımız yeni sesler, yeni tınılar. Ve sizin bu seslere müdehale edebilme gücünüz ve ses üretiminin bir parçası olabilmeniz. Çalım tekniği bakımında elektronik davullara baktığımız zaman apayrı bir yeni teknikler bütünü görüyoruz. Çünkü bir davulu(bateri) örnek alacak olursak, davul(bateri) çok yüzeyli ve birden çok enstrüman barındıran tek bir enstrümandır. İçinde hem metal yüzeyler hem de farklı geri itme seviyesinde olan derili bir tamtamlar bütünü görürüz. Bu enstrümanı çalarkenki hissiyatımızla, kontrol ettiğimiz geri sekmelerle, her yanı plastikten yapılma bir imitasyon davulu çalmak arasında tabiki dağlar kadar fark vardır. Akustik bir davul hem alan olarak elektronik davullardan çok farklıdır, hem de tek tek parçaları elektronik padlerden çok daha geniş ve derinliklidir. Bu da çalım sırasında sizin kontrolünüzü gerektirir. Ama elektronik bir davulu çalarken sesi kısabilirsiniz ve artık ne