Lived too long

While I was making some feedback tones with my mixing table all of a sudden a motorbike outside the building started his engine and took of. The sounds of feedback and motorbike blend well together. So I called it 'feedbike'.

feedbike

after 50 minutes recording ambience of forest my dog decided he will finish this . hmm someone got bored ...? .  Normally i don't upload things like this but after  when i saw what happened with my recorder  windscreen muff i thought this recording is funny ,,, luckly recorder is still in one piece :) 

Hihat dog vs Recorder with WindScreen muff ...  (Free Download )

This track is a composition made entirely with sounds that were captured on a ship. The composition is the soundtrack to an installation from Ief Spincemaille with a video by Kurt d'Haeseleer (werktank.org).

Diameter 12,4

This morning I recorded an early singing bird in the backyard. At first he had the stage for himself, but soon enough the world started waking up and he had to share his solo performance with other sounds. 

At some point in the recording a garbage truck passed the block, followed by seagulls with their chattering calls. Since I live in the city I remember seagulls always being part of daily acoustic life. But my memory always tricks me in thinking I am at the sea when hearing them. 

While recording the early solo songbird I started humming along (in silence) with his brisk improvisation. My dreaming away (it was 6 am) into this listening led me back to the time when I heard my grandma humming tunes while she was cleaning the house. 

I searched through my sound files, and there it was; a recording of my own humming tunes while cleaning the room. Meanwhile my brain just started popping up more sound memories from the past; clarinet tunes, the old clock ticking, the sound of horses feet passing by, the rattling of cups and plates in the kitchen...

All together they evoke this harmonic and nostalgic atmosphere in which time eventually goes by. That same feeling I used to have at grandma's house. While listening to her humming tunes I could easily dream away in the imagination of my childhood in which I always wished to be at the sea.

(* The early singing bird didn't make the final track but I like to credit him for his wonderful time traveling solo!)

 

At Grandma's House

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by technical sound designer and XR evangelist Kedar Shashidhar via Zoom from LA, US.

Kedar Shashidhar is an XR creator with a focus on spatial audio design and technologies. With a focus on creative research and development, he has worked to help develop new tools, create content, and explore the boundaries of audio in new realities. Most notably he has contributed to the development of various audio toolsets including Steam Audio, Ossic, and Magic Leap Soundfield Audio. He also formed an indie game studio, Blackout VR, focused on developing audio-only games. Kedar is also an active voice for audio in new realities having previously spoken at Audio Engineering Society, GameSoundCon, Indiecade, and more. In his time at Magic Leap, Kedar was working on bringing the newest innovations in mixed reality audio to content creators in order to continue pushing the boundaries of what is possible for audio in new realities. Currently, Kedar is working on the next generation of virtual venues and concerts in XR with Stage XR.

In this episode, Kedar speaks candidly about his time at Steam Audio, Ossic and Magic Leap, whilst sharing insights on cutting edge tool development for spatial audio and gives personal advice on how to keep high-level creativity and performance whilst maintaining a healthy work-life balance.

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-42-kedar-shashidhar/

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

Immersive Audio Podcast Episode 42 Kedar Shashidhar

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by Grammy Award-winning percussionist and composer Evelyn Glennie via Zoom from Cambridgeshire, UK.

Dame Evelyn Glennie is the first person in history to successfully create and sustain a full-time career as a solo percussionist, performing worldwide with the greatest orchestras, conductors and artists. Evelyn paved the way for orchestras globally to feature percussion concerti when she played the first percussion concerto in the history of the Proms at the Royal Albert Hall in 1992. Evelyn has commissioned over 200 new pieces for solo percussion from many of the world’s most eminent composers to vastly expand the percussion repertoire. She regularly provides masterclasses and consultations to inspire the next generation of musicians. The film ‘Touch the Sound’ and her enlightening TED speech remain key testimonies to her innovative approach to sound-creation. Leading 1000 drummers, Evelyn had the honour of a prominent role in the Opening Ceremony of the London 2012 Olympic Games. Evelyn was awarded an OBE in 1993 and now has over 100 international awards, including the Polar Music Prize and the Companion of Honour. She was recently appointed the first female President of Help Musicians, only the third person to hold the title since Sir Edward Elgar and Sir Peter Maxwell Davies. Evelyn is currently creating The Evelyn Glennie Collection with a vision to open a centre that embodies her mission to Teach the World to Listen. She aims to ‘improve communication and social cohesion by encouraging everyone to discover new ways of listening as proven in her book ‘Listen World!’. We want to inspire, to create, to engage and to empower’.

In this episode, Evelyn talks about her unique journey and perspective as a musician and dives deep into her long-time mission - to teach people how to listen.

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-44-evelyn-glennie/

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

Immersive Audio Podcast Episode 44 Evelyn Glennie

dickhead rescue - more than...

In this episode of the Immersive Audio Podcast, Oliver Kadel and Bjørn Jacobsen are joined by electronics engineer Ben Supper from London, UK.

Ben Supper started Supperware in 2018, with the aim of making hardware and software to meet the needs of professional musicians and engineers who work with immersive audio. The challenge has been to meet their needs for high accuracy, speed, and as little impact on their budget as possible. The first product to reach general sale is a head tracker, without which there's no point making anything else. He has spent a total of twenty years working as a product engineer and occasional manager for ROLI, Focusrite, and others. Some products he's particularly proud of co-developing to include the ROLI Seaboard, and the Novation Launchpad and Mininova. Before most of this, Ben obtained a PhD in the field of spatial psychoacoustics from Surrey in 2005 and was a graduate of the Tonmeister course in 2000. It is Ben's dream to make immersive audio work commercially this time around, and not to frighten away those casual experimenters and distractible creatives on whom its commercial and artistic success will completely depend.

In this episode, we dive deep into the topic of head-tracking for audio, and Ben expertly explains the advantages of using trackers for spatial sound and the process of making them.

Supperware is giving away a free tracker to one of our lucky listeners! It’s very easy to enter - all details in the episode - submit your entry by Friday the 5th of March 2021.

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

For extended show notes and more information on this episode go to https://www.1618digital.com/immersive-audio-podcast-episode-49-ben-supper-supperware/

If you enjoy the podcast and would like to show your support please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more.

Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast

We thank you kindly in advance!

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 or get in touch via podcast@1618digital.com

Diameter 12,4

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