Sounds accurate and harmonically clever with the variations around Heiligen Nacht. But I need some clues to understand the relationship between the hospital and the song :ç

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the ambassador and key collaborator of the FLUX:: Immersive – SPAT Revolution audio engine project Hugo Larin from Montreal, Canada.

Hugo Larin has deep roots in audio mixing, design, and operation as well as in networked control and data distribution.  He launched his career in production equipment rentals and in-studio recording. His passion for technology and for the entertainment production environment quickly drove him toward the live production sphere. His activities in this realm include a number of mixing, operation, and technical director roles on a variety of high-profile productions and events.

In this episode, Hugo discusses the technical capabilities of the SPAT Revolution engine along with the entire fleet of FLUX:: Immersive tools and we talk about the newly launched ADM OSC initiative.

For our podcast listeners, Flux:: Immersive are giving special access to extended licenses for Spat Revolution, for more information fllow the -> https://bit.ly/3EN9VAG

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-57-hugo-larin-flux-immersive-spat-revolution/

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Immersive Audio Podcast Episode 57 Hugo Larin (Flux Immersive - SPAT Revolution)

Michal Wróblewski Sax
Istvan Pados Drums
Hector Carranco Prepared piano.

Álbum de Hector  Carranco

A зан preludium

In this episode, we are joined in studio by one of the leading 3D sound specialists, Henrik Oppermann. Henrik is the founder of Schallgeber and former Head of Sound at Visualise and has worked on over 40 virtual reality projects, capturing binaural audio in a number of challenging environments. He has over 10 years’ experience of recording audio on location for film, advertising, music industry clients and 3D sound installations. An expert in his field, Henrik has developed hardware and software audio applications for VR collaboration with leading sound partners, to deliver the best possible immersive sound.

We discuss higher order ambisonics, the importance of being involved in a project from the early stages and the ins and outs of recording in unusual locations. We ask how and where immersive audio will be used in the future and discuss the mass adoption of VR.

For more information follow: http://1618digital.com/immersive-audio-podcast-episode-1/
Subscribe: http://1618digital.com/#contact

Immersive Audio Podcast Episode 1 Henrik Oppermann

Ecosistemas 2  For Flute, Clarinet, Flute in G, Bass Clarinet and electronics.

This work was originally an electroacoustic composition for 6 channels commissioned by the IMEB institute in Bourges on November 2008, and finished in May 2009. All the material of the piece was generated at the IMEB studios using digital and analog gear, and then it was mainly mixed in my personal studio in Mexico City.
The main idea of this work was to create a sonic metaphor of acoustic ecosystems, having different species from different geographies and climates. I wanted to generate a diversity of sounds that interrelate to each other, to make transitions that go from noisy textures to periodic sounds, but contemplating also the sounds that exist between the discontinuous and the continuous, and also to juxtapose all these textural rythms along with the different timber qualities of the sounds. Many of these sonic elements were made from percussive and wind instruments, manipulating them in such a way (synchronic and quasi synchronic granulation, and source filter synthesis) that they became similar to insect sounds such as cicadas and crickets. Other textures were produced through convolution of insect sounds with water, cracking fire, etc, and finally, the rest were made with analog synthesis using a Mini Moog (analog) and a Waldorf (digital-analog) synthesizer.
A second version of the piece was made one year later, adding a wind ensemble constituted by Flute, Clarinet, Flute in G and Bass Clarinet. The sounds of these four instruments added up in the integration of a new acoustic species cohabiting and interacting with the different electronic genera. This new version was crated to be used for a dance coreography by Alicia Sanchez that never happened. It was finally premiered for the first time years later, on February 8th 2019 by the Mexican Cepromusic Ensemble directet by Jose Luis Castillo in the Manuel M. Ponce hall in Bellas Artes, Mexico City.

Ecosistemas 2

For this episode of the Immersive Audio Podcast, Oliver Kadel is joined via Skype by Dave Malham, ambisonics researcher, retired Experimental Officer at the University of York and half of the team behind the FuMa format.

Today, Oliver and Dave discuss the impact that Malham has had on the Immersive Audio industry we know today, audio production in the 70s and 80s, and the advancements of ambisonics into the digital era.

For more information follow: https://1618digital.com/immersive-audio-podcast-episode-21-dave-malham-fuma/
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Immersive Audio Podcast Episode 21 Dave Malham (FuMa)

Work for guitar quartet.
Commissioned by Festival de Mujeres en la Música Nueva FMMN 2019.
Played by Atemporánea guitar quartet .
Bogotá 2019

FMMN 2019

La llegada de Atheris

The concept of this acousmatic work was triggered by a report from the World Health Organization (ISBN: 978 92 890 0229 5) that warns about the potential negative effects of sound in hospitals, among other forms of sound pollution. The report seeks to explain the death of 1.4 million people a year, only in the EU, which could be related to the stress caused by these sound enviroments. The piece does not necessarily seek to state a judgment between noises and sounds, rather it involves making a “sweep” of different acoustic spaces, as if they were aural scenographies, the piece evolves within a typical line of electroacoustic music, with a dramatic end simulating the isolation at palliative floors for terminal patients, a memory I have as a child, from when I went with my father to his work as a doctor in a public hospital. - 
Premiered on Nov25th 2019 in Ljubljana, Slovenia at Spanski Borci cultural center, under the cyce Sluhodvod, produced by Zavod Sploh.

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