Teoman Pasinlioğlu (Independent Researcher) Cihan Işıkhan (9 Eylül University) ATMM 2013 Steering Committee. ATMM 2013 Review Board

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3 Audio Technologies for Music and Media 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. After the success of ATMM 2012, the first international conference in Turkey in the fields of audio, music and media, ATMM returns to Bilkent University on 31 October 1 November Hosted by Department of Communication and Design, ATMM 2013 features a tightly-packed program with a wider range of topics. ATMM 2013 Steering Committee Ufuk Önen (Bilkent University) Teoman Pasinlioğlu (Independent Researcher) Mustafa Ertan (Interelektro) Ahmet Gürata (Bilkent University) Bülent Bıyıkoğlu (KV331 Audio) Kürşat Pasinlioğlu (Voispectra) ATMM 2013 Steering Committee Associate Members İpek Altun (Bilkent University) Bilge Miraç Atıcı (Bahçeşehir University) Giray Bayer (Bilkent University) Gerçek Dorman (Özdem Müzik) Uğur Satılmış (Bilkent University) ATMM 2013 Student Connection Board Yusuf Akçura (Bilkent University) Arda Eden (İnönü University) Bora Uslusoy (Plato College of Higher Education) Suat Vergili (9 Eylül University) ATMM 2013 Review Board Teoman Pasinlioğlu (Independent Researcher) Cihan Işıkhan (9 Eylül University) Arda Eden (İnönü University) Mahcem Öztürk (Müziktek) ATMM 2013 Assistants Hasan Çulu (Bilkent University) Altuğ Karakurt (Bilkent University) B. Lila Özkazanç (Bilkent University) Güneş Uyanık (Bilkent University) Ezgi İ. Yücel (Bilkent University) Contact

4 ATMM 2013 PROGRAM 31 October Thursday / 31 Ekim Perşembe FFB FFB FFB Foyer / Fuaye 12:30 13:00 13:30 14:00 14:30 15:00 15:30 16:00 16:30 17:00 17:30 Lennie Moore Keynote Address Stephen Harwood & Lennie Moore Game Audio Theory and Practice Aida Shirazi Performance H. T. Dizdar İşitme Kayıplar E1 Sessions (English) T1 Sunumlar (Türkçe) NOMAD Paul Devens Recording Strategies I Student Presentations 19:00 Beyond Reasoning (sergi açılışı ve kokteyl / exhibition opening reception) & Marcus Schmickler particle/matter-wave/energy (performance / performans) Goethe Institut, Ankara. 01 November Friday / 01 Kasım Cuma FFB FFB FFB Foyer / Fuaye 10:00 10:30 11:00 11:30 12:00 12:30 13:00 13:30 14:00 14:30 15:00 15:30 16:00 16:30 17:00 17:30 18:00 Mehmet Uğur Memiş Miks Semineri Liz Teutsch - Berklee Valencia Panel: Preparing for a Future in Audio Technology Pieter Snapper Perspectives on Recording, Mixing, and Mastering on Contemporary Opera Cem Tuncer Seminer: Bas Gitar Tonu T2 Sunumlar (Türkçe) T3 Sunumlar (Türkçe) E3 Sessions (English) E2 Sessions (English) Medea Electronique HR Stamenov Sounds From the Sky Paul Devens Recording Strategies II 1000names Student Presentations

5 Keynote: Lennie Moore [31 October Thursday / 31 Ekim Perşembe, 12:30-14:00, FFB-022] English: ATMM 2013 keynote will be delivered by Lennie Moore who has been a proven force as an accomplished composer, orchestrator and arranger of music for video games, film, and television for 25 years. His credits include Star Wars: The Old Republic, Kinect Disneyland Adventures, The Walking Dead Motion Comic, Watchmen Motion Comic (2008 G.A.N.G. award winner), and Dirty Harry among many others. Moore is not only a professional, but also an educator as well. He has developed the first accredited degree program for Game Audio and Interactive Media at Pinnacle College, and also developed and taught Composing for Video Games courses at the USC Thornton School of Music and UCLA Extension. Turkish: ATMM 2013 ana konuşmacısı (keynote) 25 yıldır bilgisayar oyunları, film ve televizyon için yaptığı müziklerle alanının duayenlerinden biri olan Lennie Moore olacak. Star Wars: The Old Republic, Kinect Disneyland Adventures, The Walking Dead Motion Comic, 2008 G.A.N.G. ödüllü Watchmen Motion Comic ve Dirty Harry, Lennie Moore un çalışmaları arasında yer alan yapımlardan sadece birkaç tanesidir. Profesyonel çalışmaları dışında eğitimci kimliğiyle de öne çıkan alan Moore, Pinnacle College da Game Audio & Interactive Media (Oyun Sesi ve Etkileşimli Medya) dalında Amerika Birleşik Devletleri ndeki ilk akredite programı geliştirmiştir. Moore, bunun yanı sıra UCLA Extension ve USC Thornton School of Music için oyunlar ve ses/müzik üzerine çeşitli dersler tasarlamış ve uygulamıştır.

6 FEATURED EvENTS (English) Game Audio Theory and Practice Stephen Harwood Jr. & Lennie Moore [31 October Thursday, 14:30-16:00, FFB-022] Game-curious? Interested in the video game industry but unsure of what exactly it is that we do here? In addition to sound design, composition, engineering, and production supervision, game audio development requires skill sets that are rarely encountered in the more familiar realm of sound for film and TV. Taking post-production for traditional linear media as a point of reference, this session will present the essential concepts and practical approaches used in the creation of sound and music for video games (and other interactive virtual environments). This session will be presented jointly by Stephen Harwood Jr. and Lennie Moore. Stephen Harwood Jr is a composer, orchestrator and sound designer for video games and film. His credits include Brothers in Arms: Road to Hill 30, Brothers in Arms: D-Day and Propaganda Lander among many others. Harwood Jr has previously taught at New York University and worked as an independent orchestrator for Greensboro Symphony Orchestra. He is currently an Adjunct Professor of Game Audio at Mercy College and an Instructor of Game Audio at SAE Institute, New York. Perspectives on Recording, Mixing, and Mastering Contemporary Opera Pieter Snapper [1 November Friday, 14:30-16:00, FFB-022] Contemporary opera production and classical recording in general is fraught with challenges not encountered in mainstream studio environments. We will look at how to frame the problems, as well as specific technical solutions through the lens of two recent opera projects- Michael Ellison's "Say I Am You/Mevlana" and Kamran Ince's "The Judgment of Midas." We will listen to the works at different stages of production, examining how certain technical and musical decisions shape the overall impact of the recordings. Pieter Snapper, the founder of the MIAM studios and co-founder of Babajim Istanbul Studios & Mastering, is a mastering engineer, producer, and composer of contemporary classical and electronic music. His works have been played in the U.S., Europe, and Asia. He has received awards from BMI, ASCAP, UC Berkeley, the Union League Foundation, and commissions from the Fromm Foundation at Harvard University, Yamaha Corporation of America, the ensemble Eighth Blackbird (three time Grammy-winners), and the Memphis Symphony Orchestra.

7 Preparing a Future in Audio Technology Liz Teutsch [1 November Friday, 12:30-14:00, FFB-022] In its short-lived history, the field of audio technology has developed at a rapid pace. The approach towards training in the profession has also modulated, and what began as an apprentice-based system is now almost exclusively university-based, with many programs largely focused on tools and technology. In an industry where these tools are changing as rapidly as the industry itself, is this model sustainable and appropriate? Furthermore, where is the industry headed, and as educators, students, and professionals how can we best prepare ourselves for it? This dynamic panel of educators from around the globe will address these and other questions as we discuss the future trajectory of the exciting and evolving field of professional audio. Panelists include (in alphabetical order) Arda Eden (Inönü University, Malatya, Turkey), Huseyin Hacihabiboglu (METU Informatics Institute, Ankara, Turkey), Stephen Harwood Jr. (SAE Institute NYC and Mercy College, New York, U.S.A.), Lennie Moore (University of California at Los Angeles (UCLA) Extension, California, U.S.A.) and Ufuk Önen (Bilkent University, Ankara, Turkey). Liz Teutsch, the former Director of Center for Digital Imaging Arts at Boston University, is an Associate Professor and the Assistant Director of Academic Technology at Berklee Valencia. She teaches courses in music production and technology at the Valencia campus, which launched its new Master s Degree in Music Technology Innovation this fall.

8 ETKİNLİKLER (Türkçe) Miks Semineri Mehmet Uğur Memiş [1 Kasım Cuma, 10:30-11:30, FFB-022] ATMM 2013, tanınmış ses mühendislerinden Mehmet Uğur Memiş tarafından gerçekleştirilecek olan miks atölyesine de ev sahipliği yapacak. İskender Paydaş, Peter Murphy, Feridun Düzağaç, Volkan Başaran ve Ogün Sanlısoy, Mehmet Uğur Memiş in birlikte çalıştığı isimlerden bazılarıdır. Bas Gitar Tonunu Etkileyen Faktörler Cem Tuncer [1 Kasım Cuma, 16:00-17:00, FFB-022] ATMM 2013, Ankara nın tanınmış bas gitaristlerinden Cem Tuncer i konuk ediyor. Artun Ertürk, Pamela, Volkan Öktem, Dave Weckl gibi isimlerle çalışmış olan Tuncer, bas gitar tonlarının kalitesini etkileyen faktörlerini ele alan bir seminer gerçekleştirecek. Gürültüye Bağlı İşitme Kaybı Handan Turan Dizdar [31 Ekim Perşembe, 17:00-17:30, FFB-022] Odyoloji uzmanı Handan Turan Dizdar işitme duyumuzu mercek altına alıyor. Kulak anatomisi ve işitme fizyolojisi gibi konunun en temel noktaları başta olmak üzere akustik travma ve/veya gürültüye bağlı işitme kaybı ve insan sağlığı üzerindeki diğer etkileri dışında söz konusu durumlar için uygulanan tedavi ve korunma yöntemlerini paylaşacak.

9 PAPERS (English) E1 Sessions A Generative Synthesis Drum Machine Model in Max/MSP Y. Burak Tamer Bahçeşehir University [31 October Thursday, 14:00-14:30, FFB-005] This paper presents an interactive rhythm synthesis system implemented in Max MSP. The user is expected to record four two-second samples of audio into buffer. These sound samples are to be used as the voices of the instrument in order to be fine-tuned and saved into presets at the end of the process if desired. The system aims for instant interaction and the user is encouraged to explore the sonic environment he/she is in or has access to. Once the samples are ready, the user can generate rhythmic sounds in the determined BPM, play variations through the pattern generator and play tempo variations via the tempo modulation modules. The system model presented is built with four voices yet it is modular and can be expanded to cover a wider range of voices and irregular meter generation. The Functions of Music and Sound in Tarkovsky's Films Metin Çolak Cyprus International University [31 October Thursday, 14:30-15:00, FFB-005] The use of sound and music has caused several debates in filmmaking. While one group of film directors asserts that the use of sound and music (especially music) increases the effects of cinema, other group of directors propounds that its use decreases the strength of cinematographic image and pulls it away from reality. Distinctions in views become especially visible when the use of music is in question. Minimalist film directors, including Robert Bresson and Ingmar Bergman, opposed the excessive use of music and saw and used it as the minimal element of their film language. This point of view is shared by the Russian filmmaker Andre Tarkovsky, who has a special status in the auteur film tradition. His thoughts about the minimalist use of music and sound in cinema can be found in his seminal work Sculpting in Time which contains his sincere ideas about life, art, culture and politics. His films, within this perspective, confirm his views in this direction. At this point it must be stressed that while his thoughts seem to contravene the excessive use of music, the soundtracks in his films become the constitutive parts of the filmic narration within this minimalist usage. Typical examples are his Solaris (1972) and Stalker (1979). This study examines the rationality behind the usage of sound and music in Tarkovsky s films. It focuses on the primary sound effects (especially in his science fiction films) and the soundtracks of his films. In this context, especially his Solaris (1972), Mirror (1975), Stalker (1979), and Nostalghia (1983) will be analyzed and compared.

10 E2 Sessions Kyma: Programming Environment for Sound İlker Işıkyakar Cloud 18 Productions [1 November Friday, 10:00-10:30, FFB-006] Kyma is one of the most powerful and profound audio production systems available today... And, it's easy to learn. Musicians, students and professionals around the world use it. Its superb sound quality, interactive processes, and ease of running complex algorithms in real time, make it an ideal path towards professional problem-solving in sound design, post production, film scoring, game development, sound installations, live performance, research, and any other creative musical application. Anybody who is serious about sound should give this wonderful environment a chance. One may approximate aspects of it by assembling numerous other tools at one s disposal but, in the end, the workflow and "feel" with Kyma are different. Moreover, Kyma itself is quite malleable, adjusting to the individual user's personality and needs, as long as s/he commits to mastering it. Simply put, Kyma is less a product or tool and more a way of working, a way of living the sound alchemist's reality. The longer one uses Kyma the more it becomes one s personal sound design workstation. A System in Max/MSP and Java For Matching the Tuning in the Recording Y. Burak Tamer & Barış Bozkurt Bahçeşehir University [1 November Friday, 10:30-11:00, FFB-006] This paper presents a new tuner system implemented in Java. The main difference from existing tuners is the use of one or more recordings as reference instead of theoretical presets. The target here is to help the musician to tune her instrument as in one or more given recordings. For that purpose, first, the fundamental frequency analysis is performed for the given recordings. Then, pitch distributions are obtained and matched to get an overall distribution plot. Finally, on the main display panel of the tuner, the real-time frequency estimate from the input signal is plotted together with the pitch distribution. The musician adjusts her instrument to match the frequency estimate of the input signal with a peak of the histogram to perform the tuning operation. Band Ant: Music Made By an Ant Colony Buğra Karabey METU Informatics Institute [1 November Friday, 11:00-11:30, FFB-006] Music composed and generated by life forms other than human beings have been investigated in nu-merous studies. Within my work Band Ant the inherent rhythm, harmony and energy within the movements and interactions of the members of an ant colony have been analyzed by digital image processing techniques and utilized as the basis of a musical outcome. At the same time, the swarm intelligence that forms the basis of these activities is mapped onto the domain of music so that one can experience evolution at work as an artist.

11 E3 Sessions vocoding Techniques in Audio Applications Kürşat Pasinlioğlu Voispectra [1 November Friday, 16:00-16:30, FFB-005] Originally being invented for enhancing the voice-carrying capabilities of the telephone lines, potential usage of the vocoder in music productions was recognized in the following years. Initial experiments performed with the vocoder then led to the progress of the electronic music, and starting from the 70s it was used in numerous albums. Due to its unique sound and popularity, the vocoder is still a widely used effect in today s music productions from various genres. Obviously, creative usage of the vocoder requires some knowledge about the working principle behind it, whether it is a hardware unit or software plug-in. In this paper, details of the audio processing approach used in the vocoder are investigated with the corresponding typical parameters and application techniques. Aliasing in Audio Applications and Solution Approaches Teoman Pasinlioğlu Independent Researcher [1 November Friday, 16:30-17:00, FFB-005] Aliasing is an unwanted side effect when sampling analog signals if the sampling rate is not adequate for covering the complete bandwidth or conversely the signal to be sampled has a wider bandwidth for a given sampling rate. In this paper, the aliasing phenomenon is discussed in detail and the necessary techniques used for eliminating the spurious signals formed as a result of aliasing are overviewed. The simplest rule of thumb for sampling a continuous signal is to set the sampling frequency at least twice as much as the highest frequency component appearing in the signal. This is known as the Nyquist Criteria and the highest frequency allowed is the Nyquist Frequency which is half the sampling frequency. The criteria is the condition used for the lossless recovery of the signal when converted to analog from digital form. In practice, analog signals are digitized using analog-to-digital converts (ADC) by sampling, quantizing and encoding the signal successively, and are reproduced by digital-to-analog converters (DAC) using a reconstruction or anti-imaging filter. ADCs usually come with one or more sampling rate options for the user depending on the application area and specific needs. Any given sampling rate specifies the maximum allowable frequency that can be reproduced correctly without any disturbance by the aforementioned Nyquist limit. The so-called Anti-Aliasing Filter structure is widely used for taking care of the aliasing phenomenon occurring in audio applications as well as in other areas requiring sampling process for that matter.

12 BİLDİRİLER (Türkçe) T1 Sunumlar Reklam İletişiminde Kullanılan Müzik Tasarımının Hedef Kitle Üzerindeki Rolü Zekiye Tamer Gencer Sivas Cumhuriyet Üniversitesi [31 Ekim Perşembe, 16:00-16:30, FFB-005] Toplumsal yas amın bir parc ası olarak incelenen ve degĕrlendirilen iletis im, bireylerin yas am su recļerinde ihtiyac duydukları bir kavramdır. I letis ime egĭtimden sag lıgă, aile yas antısından tu ketime, haber ve bilgi almadan ticari su recļere kadar hayatın her alanında gereksinim hissedilmektedir. Ayrıca bireyin gelis mesinde ve degĭs mesinde de iletis im o nemli rol oynamaktadır. Bu bag lamda gelisȩn teknolojiyle beraber evrende bulunan tu m ses, so z, sembol ve is aretler bir iletişim parc ası olarak kars ımıza c ıkmaktadır. Bu c alıs ma kapsamında iletis imin ticari boyutunda o nemli bir yeri olan reklam iletis iminde kullanılan go rsellik ve mu zik incelenmisţir. Farklı arasţırmalarla ortaya konan reklam mu ziklerinin etkinligĭ konusunda yapılan bu betimleyici c alıs ma, sunulan literatu r taraması ve reklamın mu zikle olan ilisķisinde o nemli yeri olan reklam cıngıllarının ac ıklanması u zerine kurgulanmısţır. Müzik Teknolojisi Eğitiminde Türkiye'deki Devlet Üniversitelerinde Uygulanan Modeller Üzerine Bir İnceleme Server Acim İnönü Üniversitesi Devlet Konservatuvarı [31 Ekim Perşembe, 16:30-17:00, FFB-005] Türkiye deki devlet üniversitelerinde Müzik Teknolojisi Eğitimi, birbirinden farklı eğitim modelleri ve öğrenci seçiminde uygulanan kriterler bağlamında birbirinden farklı sonuçlar doğurmaktadır. Ayrıca Müzik Teknolojisi Eğitimi, Yükseköğretim Kurumu tarafından yeni yeni tanınmaya başlanan bir eğitim modeli olmaya başlamıştır. Bu olgular göz önüne alındığında, Türkiye deki devlet üniversitelerinde Müzik Teknolojisi alanında eğitim vermeye başlayan ilgili kurumlarda gelişen yapısal dokularda ve öğrenci seçimi kriterlerinde uygulanan yöntemler, çeşitli sonuçlar doğurmuştur. Bu çalışmada, bu sonuçların artıları ve eksileri masaya yatırılacaktır.

13 Türkiye'de Klasik ve Çağdaş Müzik Prodüksiyonlarında Ses Mühendisi ile Sanatçı Arasındaki İletişim Can Karadoğan İTÜ TMDK & MIAM [31 Ekim Perşembe, 17:00-17:30, FFB-005] İlerleyen kayıt teknolojisiyle birlikte evrilen müzik yapım yöntemleri günümüz sanatçılarını olumlu veya olumsuz şekilde etkilemektedir. Yıllarca canlı icra konusunda tecrübe biriktirmiş bir icra sanatçısı bile stüdyo kaydına girdiği zaman sıkıntılar çekebilmektedir. Aynı şekilde oldukça fazla kayıt tecrübesi olan bir sanatçı ise teknolojinin olanaklarından tartışmalı bir şekilde faydalanabilmektedir. Sanat yönetmeni (producer) rolünün tam olarak doldurulamadığı birçok kayıt projesinde, bu rolün vermesi gereken birçok karar mecburen ses mühendisine yıkılmakta olup sağlıksız sonuçlara yol açabilmektedir. Bu bildiride, işte bu sıkıntılı iletişim sorununun çözüme yaklaştırılabilmesi için çok kanallı klasik veya çağdaş müzik kayıt projelerinde iki esas aktör olan ses mühendisi ve sanatçının üzerine düşen görevler ve de bu aşamaya gelene kadar alacakları müzik eğitimi için öneriler tartışılacaktır. T2 Sunumlar Tını Araştırmalarında Sistematik ve Yenilikçi Bir Yaklaşım İhtiyacı Sair Sinan Kestelli İTÜ MİAM [1 Kasım Cuma, 10:00-10:30, FFB-005] Tını, sıklıkla sesin perdesi ve dinamiği dışında kalan ve bir ses kaynağının diğerinden ayırt edilebilmesini sağlayan özellikleri olarak tanımlanır. Bu tanım, gerek tınının 'ne olduğundan ziyade ne olmadığını' belirtmesi, gerekse tınıyı sadece ses kaynağı üzerinden açıklamasıyla bulanık bir kavramsal çerçeveye sahiptir. Tını aynı zamanda, teknolojinin hızlı gelişimi sayesinde sesin işlenebilmesi açısından neredeyse sınırsız olanaklar sunan stüdyolarda sesin en çok tartışılan özelliği haline gelmiştir. Ancak, bu tartışmalarda, genellikle kişisel deneyimlere dayalı bir terminoloji kullanılmakta ve profesyoneller arası iletişimde kopukluklar yaşanmaktadır. Gerek tınının çok boyutlu ve karmaşık yapısının göz önüne alınarak yeniden tanımlanması, gerek bu iletişim kopukluklarının giderilerek tınıyla ilgili ortak bir terminoloji oluşturulması, gerekse son dönem araştırmalarında işitsel algı yanında; görsel ve kinestetik algıyla bütünlüklü şekilde anlamlandırıldığı kanıtlanan tını kavramının, son dönemde ortaya çıkan teknolojik araçlar kullanılarak ve çok disiplinli bir şekilde araştırılmasıyla, tını çalışmaları sistematik hale getirilebilir ve berrak bir kavramsal çerçeveye oturtulabilir.

14 Mikrotonal Perdelerin MIDI İle Seslendirilmesi: Bir Max/MSP Çalışması Serdar Çelik & Arda Eden & Gülay Karşıcı Cumhuriyet Üniversitesi & İnönü Üniversitesi & Erciyes Üniversitesi [1 Kasım Cuma, 10:30-11:00, FFB-005] Bilgisayar ile müzik ilişkisi içinde çok önemli bir yere sahip olan MIDI günümüzde sadece tampare perde sistemini kullanan tonal müzik için kullanılabilir durumdadır. Dolayısıyla, Türk makam müziğininde içinde bulunduğu pek çok mikrotonal perde sisteminin MIDI'ye uyarlanması ve mikrotonal perde sistemlerinin Digital Audio Workstation'lar ile kullanılması mümkün değildir. Araştırmamızda mikrotonal perdelerin MIDI ile seslendirilmesi ve Digital Audio Workstation yazılımı içinde kullanılabilmesine yönelik Max/MSP tabanlı bir mikrotonal MIDI arayüzü programladık. MIDI arayüzünün programlanmasında kullanılan MIDI Channel Voice mesajlarıyla oluşturulan algoritma, MIDI arayüzünün sunumu, mikrotonal perdeleri seslendirmedeki yeterliliği ve nasıl kullanılacağı gibi temel konular araştırmamızın içeriğini oluşturur. video Oyun Sektöründe Kullanılan Ses Tasarımı Teknikleri, Sanal Müzisyenlik Kavramı ve Değişen Müzisyenlik Pratikleri: Rocksmith Oyunu Örneği Suat vergili & Aykut Çerezcioğlu Dokuz Eylül Üniversitesi [1 Kasım Cuma, 11:00-11:30, FFB-005] Video oyun sektöründe gelişen prodüksiyon teknikleri ile giderek daha kaliteli soundtrackler oluşmakta, sanal deneyimin başarısı ve gerçekçiliği artmaktadır. Kullanılan prodüksiyon yöntem ve tekniklerindeki gelişmeler farklı türlerde oyunların da önünü açmış, oyunseverlere daha önce yaşamadıkları deneyimleri yaşama imkanını sağlamıştır. Bu bildiride Rocksmith oyunu özelinde öncelikle video oyun sektöründeki ses tasarımı teknikleri üzerine bilgiler verilecek, daha sonra sanal gerçeklik ortamında müzik icrası, müziksel becerilerin gelişimi ve bu sanal gerçekliğin bir sanal deneyime ne şekilde dönüştüğü anlaşılmaya çalışılacaktır.

15 T3 Sunumlar Zaman Kodlu Senkron Sorunlarının Kökeni Cihan Işıkhan Dokuz Eylül Üniversitesi [1 Kasım Cuma, 14:00-14:30, FFB-005] Senkron (eşgüdüm, synchronization), donanımlar arasında uygun adım hareketi sağlayan bir iletişim, sistemin bir merkezden yönetilmesine olanak tanıyan makinalar arası bir protokoldür. Eşgüdüm sayesinde iki ya da daha fazla donanım zaman ve hız değerlerinde anlaşıp uyum içinde çalışır veya çalışması beklenir; çünkü özellikle yoğun içerikli profesyonel ses kayıt uygulamalarında teoriyle pratik her zaman örtüşmeyebilir ve eşgüdüm kaynaklı ciddi sorunlar ortaya çıkar. Bu sorunların pek çoğunun bağlantı, ayar ya da kullanım hatasından ortaya çıktığı düşünülse de aslında hiç de azımsanmayacak kadarı eşgüdüm tipinden, seçilen protokolün olağan yapısından kaynaklanır. Bu çalışma, teorik olarak hiçbir sorun olmayacağı beklentisiyle yola çıkılan uygulamalarda bile yalnızca seçilen zaman kodlu (time code) eşgüdümün dijital yapısı gereği ortaya çıkan ciddi sorunları, sorunların kaynağı olan protokollerin içyapıları ve çözüm önerilerini içermektedir. Sözü edilecek protokoller, uygulamalarda en çok kullanıldığı tespit edilen ve geleneksel zaman kodu SMPTE nin MIDI protokolündeki temsilcisi MTC ve türevleriyle (tam kare, MMC vs.), özel bir otomasyon eşgüdüm sistemi olan HUI dir. Çözüm için otomasyonun devreye girdiği HUI yi bir tarafa bırakacak olursak, MTC nin ana hatlarıyla bir çeyrek kare mesajı olması, MMC nin ise içinde tam kare MTC yi barındırmasına rağmen klasik bir SysEx yapısı taşıyor olması, zaman kodlu eşgüdüm sorunlarının en önemli kökenidir. Kontrol Odalarında Tasarım Yaklaşımları İsmet Emre Yücel Sakarya Üniversitesi Devlet Konservatuvarı [1 Kasım Cuma, 14:30-15:00, FFB-005] Kontrol odaları 1950 li yılların ortalarına kadar ses stüdyolarının bir kenarında gelis igüzel yer almaktaydı. Stereo kaydın popüler olmaya basļadıgĭ ve tüketiminin arttıgĭ 50 li yılların sonlarında önemi artan kontrol odaları, tasarım yaklas ımları açısından o yıllardan günümüze degĭs iklik geçirerek gelmisţir. LEDE, RFZ, Non-Environment, CID, ESS gibi kontrol odası tasarımlarındaki farklı yaklas ımların ortak özelligĭ miks mühendisine kaydın aslına sadık kalacak sȩkilde bir dinleme ortamı sag lamaktır. Bu yazıda kontrol odalarının geçmişten günümüze tasarım yaklaşımlarının, mevcut ve ulaşılabilen kaynaklar ışığında ortaya konması amaçlanmıştır.

16 STUDENT PRESENTATIONS Mobile Applications as the Future Music Playback Medium Ozan Sarıer ITU MIAM, PhD Student [31 October Thursday, 16:30-17:00, Foyer] This session is the demonstration of the ideas and software that was developed for Sarıer's master thesis, titled Mobile Applications as the Future Music Playback Medium. Today's mobile systems are capable enough to process and mix multi-track audio reminiscent of digital audio workstations found in recording studios and music production facilities. This capability of on-the-fly mixing leads the way to music playback in the form of mobile applications which allow user interaction and dynamic output. With this new form of music playback medium, many new ways of dynamic playback scenarios which can result in augmented user experience become a possibility. This thesis aims to be a guide to the development of future frameworks and standards by discussing the possibilities, benefits, problems and design considerations associated with the next generation of music playback systems that use mobile applications as their medium. Ensample: Practising Recordings as Musical Instruments Sair Sinan Kestelli ITU MIAM, PhD Student [1 November Friday, 15:30-16:00, Foyer] This session is the demonstration of Ensample, a custom-built, sample based digital musical instrument which uses positionmeters, infrared proximity sensors, pedals and common MIDI devices for its controller part and various tools created with Max/MSP and Ableton Live for its sound generation part. Hardware part of the instrument consists of a Sensor System Eobody 2 8M Sensor Box, 3 Positionmeters, 2 Infrared Proximity Sensors and 1 Sustain Pedal, 1 Novation Launchpad and 1 M-Audio XSession Pro midi controller. Software part of the instrument was designed on Cycling 74' s Max Software and Ableton Live. The main idea is to extract timbral, rhythmic and melodic possibilities out of a digital recording and use these possibilities to enable the practice of sound recordings as musical instruments through improvisations, compositions and performances for various samples and controllers. PERFORMANCE Turning Points Aida Shirazi [31 October Thursday, 16:30-17:00, FFB-022] In her own words: "This work consists of five excepts from the very first musics I have heard in my life. They are so familiar that I cannot really decide whether they are a part of me, or I belong to them! My intention for choosing this collection was association of each of these musics with a milestone of my life. In other words, these musics narrate the (literally) turning points of my life."

17 REMOTE: RELOCATING SOUND Remote: Relocating Sound project is developed to trace the new mental maps through sound-art. In a period in which geographical positioning is losing its importance, the project aims to question how the production which focuses on sound-art in Turkey, Germany, Bulgaria, and Greece position itself. Remote: Relocating Sound project creates platforms of discussion on various subjects related with the current focusing points of contemporary sound-art milieu. The expressive potentials of sound-art performances, sonification of scientific data, interpretation of remote information are some of the topics of presentations, workshops, and performances. Remote: Relocating Sound, curated by Başak Şenova, is a joint project of ArtUP!, NOMAD and Bilkent University. Participants of the project are Marcus Schmickler (Germany), HR Stamenov (Bulgaria), 1000 names (Bulgaria), Medea Electronique (Greece), and NOMAD (Turkey). NOMAD: Erhan Muratoğlu - Emre Erkal - Başak Şenova [31 October Thursday, 14:00-14:30, FFB-006] NOMAD was founded in 2002 as an independent formation and registered as an association in NOMAD aims to produce and experiment with new patterns in the digital art sphere by using the lenses of various other disciplines. NOMAD's production network aims to build strong connections across territorial borders through digital culture-oriented projects; initially in Europe and the Middle East, then in other areas. The main goal of these projects is to establish a productive communication channel that facilitates access to new information resources. Since 2002, NOMAD has developed numerous local and international projects, including festivals, exhibitions, performances, multimedia events, experimental film screenings, lectures, panels, and publications. For the last few years NOMAD has produced one or two projects per year as opposed to the extensive production rate from 2002 to Most recently, NOMAD has been focusing on archiving and publishing as another mode of operating that has a less immediate output. Recording Strategies Day 1 Paul Devens [31 October Thursday, 16:00-17:00, FFB-006] A microphone plays different roles, in all its variations from instrument, filter, snapshot medium, broadcaster to telescope, magnifying glass, etc. Often it is a metaphor; more often it's an intermediate in a power relation. What does it mean when the recording microphone is introduced in an everyday environment of people who don't expect it, and the recordist has total freedom to manipulate the recordings? The workshop will reflect on this by given examples from contemporary culture and works from the art practise of Paul Devens. On the first day of the workshop, there will be an introduction, reflecting on the techniques and theories. Then, a small assignment will be handed out.

18 Recording Strategies Day 2 Paul Devens [1 November Friday, 16:00-17:00, FFB-006] On the second day of the workshop, the assignment will be discussed. Please bring recording equipment such as video-cameras, voice recorders, phones with a recording function, etc. Medea Electronique [1 November Friday, 14:00-15:00, FFB-006] Medea Electronique compromising of Manolis Manousakis (Sound Artist), Michael Larsson (Video Artist), Ioanna Kambylafka (Performer), Kleopatra Korai (Animator), Yannis Lolis (Video Artist Designer), Christos Laskaris (Painter), Tim Wart (Composer), Haris Germanidis (Video Artist), Panatiotis Goubouros (Animator), Eric Lewis (Improviser), Theodoris Zioutos (Improviser / Sound Technician), Aggeliki Poulou (Curator) presents some selected works. These works include Soundscapes/Landscapes (Interactive AV Installation, 2013), Beyond Reasoning (Video Installation, 2012), Koumaria Residency , EPIC (Video Art-2012), Electric Nights (Electronic Arts Festival, 2012), Fragments of the Unseen (Interactive Performance, Video Installation ), EMW (Electronic Arts Festival, 2010), and Monotonia (Video Installation, 2010). Sounds From the Sky HR Stamenov [1 November Friday, 15:00-16:00, FFB-006] The interaction of scientific experiments and media impressionism will be traced through the collaboration of two artists which resulted in a new media work. In 1979 Alzek Misheff working with the group for Mathematic Calculation at the Institute of the National Research Council in Pisa created a sound interpretation of the color slides from Andromeda Galaxy. The experiment and performance using and disseminating sounds of a cosmic origin was realized in Milan. In 2011 HR-Stamenov installed the artwork Space 0 Space in Venice. Using high voltage lighting equipment and powerful sound, he reproduced a thunderstorm with lightning inside a 17th century palazzo. The cooperation between Stamenov with his experiments to "capture and control natural phenomena, and Misheff with the aforementioned and other experiments, led to the media performance The Nightmare of Prometheus (2011).

19 1000names [1 November Friday, 17:00-18:00, FFB-006] Long before the current wave of Russian and Eastern European 'beats and glitch' producers, Bulgarian duo 1000names were in at the foundation of the sound, debuting with the now classic Melonball Bounce alongside Rustie on Beatnick s Vol 1 in Taking their name from an Anish Kapoor sculpture, 1000names is identifiably part of the global beats scene. 1000names presents some samples from their collection. Exhibition: Medea Electronique: "Beyond Reasoning" [31 October Thursday, 19:00 (opening and reception), Goethe-Institut] Beyond Reasoning is a four channel audio visual installation piece inspired by Attalis work Noise. Noise is a resonance that interferes with the audition of a message in the process of emission. It is any disruption of any social process, any source of pain. Noise necessarily produces resistance in the mind, creating a critical distance via a body/mind rupture. In Medea Electronique s Beyond Reasoning, noise represents the inability to express any emotion of resistance. The reaction of the four characters (who stand defenseless in front of the camera) to the soundtrack represents their failure to react against the establishment. In large the project is inspired by the recent economic crisis and the subsequent crisis in moral and values Performance: Marcus Schmickler "particle/matter-wave/energy" [31 October Thursday, 19:00, Goethe-Institut] For his performance, Schmickler shows compositions based on sonification: Bonn Patternization is based on astrophysical data that asks the question: "What does it sound like when galaxy clusters of 30 objects reciprocally influence each other by means of gravitation?". Using data gathered by researchers at Germany s Argelander Institute of Astronomy, Schmickler will collide first two, then three simulated galaxies. Another composition is based on sonifications of contemporary mathematics. Is it possible to perceive changes in a society through changes in its music? Is it possible to understand contemporary music through its implicit relationships with money? And how better could we describe the disciplines of music and economics than through mathematics, their common foundation?

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