EMF
Creative Resource
Center
crc@emf.org
212-206-1505
307 7th Ave Ste 1402 (at 28th St)
New York City
WORKSHOPS & ENCOUNTERS
Past Events Spring 2010
Kyma X Workshop 4
Axel Mulder on I-CubeX
Kyma X Workshop 3
Kyma X Workshop 2
Kyma X Workshop 1
Scott Freiman: Deconstructing the Beatles
Francisco Lopez: Mamori Sound Project
Joel Chadabe: The Dynamics of Kyma X
STEIM in new York
Everything You Wanted to Know About Microphones
Derek Holzer: Tuned City
Derek Holzer: Tonewheels
Encounter with Walter Branchi
Encounter with Helmut Lemke
Wednesday, May 19, 6—9pm
#4 in the Kyma cycle. You are the focus of this session. Try things out. Make a performance situation. Process a sound. Control it in real time. Is this the end? It's really the beginning. To continue to learn and work, you can schedule tutorials. You can also schedule individual work sessions, with and without technical support. And you can join the Kyma Group, a creative lab environment aimed at creating sound designs and meeting post-production needs.
Tuesday, May 18, 6—7:30pm
Virtual String
Axel Mulder, Montreal-based researcher in performance gestures for electronic instruments, President of Infusion Systems, speaks on the I-CubeX challenge: enabling creativity while maintaining usability.
"Although the I-CubeX project is now 15 years underway, its goals are still the same, the framework of which can be found in my work on SoundSculpting. Initially appealing to a specific audience within music and visual art, I-CubeX is now used in a wide variety of applications that usually involve capturing human or other motion and its translation to audio-visual events, resulting in interactive or responsive systems.
"Using examples of some of these I-CubeX applications I will try to elaborate the dilemma that defines I-CubeX product design. While on the one hand the aim is to provide unlimited freedom to create and develop applications using I-CubeX components, on the other hand the aim is to provide an easy-to-use environment that manages or reduces the complexity when applying I-CubeX products. Operating as a business, it may be no surprise that market forces, both on the client and supplier side, constrain this balancing act."
More on I-CubeX
More on Sound Sculpting
Monday, May 17, 6—9pm
#3 in the Kyma cycle. The focus of this session is on time. The Kyma timeline is a multi-track scheduler that can automate the timing of sounds and/or respond to performance inputs from external sources. Subjects to be covered include scheduling sounds and performance inputs from external sources. By the end of this session, you'll be able to perform with the Kyma System using any controller, and you'll understand how to automate sounds. In short, by the end of this session, you'll know how to use the Kyma System for any application.
Wednesday, May 12, 6—9pm
#2 in the Kyma cycle. The focus of this session is the frequency domain (if you don't already know what that means, you will by the end of this session). Subjects to be covered include mixing, filters, analysis-resynthesis techniques, and the perception of sound. By the end of this session, you'll understand sound and how to work with it. And you'll be on the road to developing an original sense of sound and sound design.
Tuesday, May 11, 6—9pm
#1 in the Kyma X workshop cycle. Joel Chadabe, who has performed around the world with the Kyma system, provides a comprehensive introduction to the Kyma System's operations. Subjects to be covered will include analog/digital waveforms and an overview of Kyma's time domain objects, including oscillators, function and envelope generators, granulators, the waveform editor, and time offset objects. By the end of this session, you'll understand the basics of digital audio technology. You may be able to make sounds with Kyma X. And it could be that the picture of a new road to musical and audio originality will begin to emerge.
Monday, May 10, 7—8:30pm
Love the Beatles? This lecture by Scott Freiman will bring you to a new level of understanding. Mixing anecdote, history, archival footage, rare audio, harmonic and lyrical analysis, and a deep love of the subject, Freiman’s talks are unique, spirited, humorous, enjoyable, and informative. In this encounter, he'll discuss the February 1967 double A-side single Strawberry Fields Forever/Penny Lane that broke new ground for what a "pop" song could be. He'll look at these two important songs from multiple angles, exploring the history behind the music, the lyrics and harmony, and the studio production. Using rare and unreleased recordings, he'll walk us through the construction of the songs from take one to the final version. He'll also tell us about the revolutionary methods employed to record the Beatles groundbreaking work Sgt. Pepper's Lonely Hearts Club Band. New techniques were developed during these sessions that shattered "correct" recording methods of the day and led the way for the recording industry into the future. Examples from early mixes and demos will demonstrate what it took to make the songs we all know.
More on Scott Freiman and The Beatles
Saturday, May 8, 4—6pm
Francisco Lopez visits New York to talk about Mamori Sound Project, an annual two-week workshop/residency for professional and semiprofessional artists with previous experience in the area of sound experimentation and field recordings. It takes place at Mamori Lake, in the middle of the Brazilian Amazon, and involves theoretical/discussion presentations, field work and studio work. The workshop/residency has a special focus on creative approaches to the work with field recordings, through an extensive exploration of natural sound environments. It does not have a technical character but is instead conceived and directed towards the development and realization of a collective project of sonic creation with the interaction of all participant artists.
Thursday, May 6, at 7pm, 8pm, and 9pm
The Pacarana
Kyma X, cross-platform software developed by Carla Scaletti and Kurt Hebel at Symbolic Sound, Inc., drives the Paca or the Pacarana to provide an incredibly flexible and powerful creative music system and sound design environment. Kyma X is used by composers and sound designers in music composition and post-production studios, research labs, art installations, game developers' studios, educational institutions, home studios, and live performances. As Symbolic Sound puts it, "Kyma X is easy to learn. And impossible to outgrow." Hamilton Sterling, sound editor for Master and Commander, wrote: "The wonderful thing about working with Kyma is that, like any good art form, the more you do it, the more ideas it generates."
More on the Kyma demonstration and workshops
Wednesday, May 5, 7—8:30pm
STEIM, a creative music laboratory in Amsterdam, The Netherlands, known for its software development and innovations in electronic instrument design, is visiting New York to showcase its work at Japan Society. Frank Baldé, software developer at STEIM, and Takuro Mizita Lippit, artistic director at STEIM, will join Joel Chadabe and Ben Neill to discuss "the evolution of the realtime musical system."
Links to details of STEIM at Japan Society:
STEIM Mobile Touch Exhibition, May 7 & 8
STEIM Mobile Touch Workshop, May 8
STEIM Concert May 8, 7:30pm: Electronic Music Lab
Saturday, May 1, noon—6pm
Tom Beyer, director of recording studios at the NYU Music Technology Program, will describe, discuss, and demonstrate in EMF's recording studio how and when to use a variety of different microphones And we'll do a bit of recording on the spot to make the comparisons clear. Thanks to Dale Audio for their support in lending EMF these mics.
Earthworks QTC1 DPA 4041SP Neumann: TLM193, TLM49, U87ai U47 Violet audio Black Knight AT 4050 and/or 4047 AKG 414XLS AKG 214 Shure KSM32 Mojave MA200Tuesday, April 27, 7—8:30pm
Visiting New York from Berlin, Derek Holzer speaks about Tuned City: Sound and Space Speculation.
Tuesday, April 20, 7—8:30pm
Derek Holzer, visitor from Berlin, speaks about optoelectronic synthesis.
Tuesday, April 15, 7—8:30pm
Visiting New York from Italy, Walter Branchi, among the pioneers in electronic music in Italy, discusses some unique and interesting ideas about how to relate music to the environment.
Tuesday, April 12, 7—8:30pm
In Helmut Lemke's words, "I have always been interested in the relationship between sound and the environment. Since the 1970's I have been developing site-specific concerts, performances and installations. During this period I have experienced many audible sounds as well as those made audible through creative interventions. These sounds inherit extreme beauty, and becoming aware of them and listening is utterly rewarding. In 1999, I started a series of work under the title “über den hörwert / about the value of listening". During this period in investigative performances and installations I no longer added sounds to wherever I worked, but researched the possibility of capturing the sounds of an environment and to communicate the findings to an audience."
SITES
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