SIGNAL / BIRD

Short excerpt of live session at HLADINY event in Barrandov Bazen. Shluk, Oct 2023.

HLADINY

Are you doing omnichannel pharma marketing right?

Many pharma brands claim to be omnichannel—but their campaigns tell another story. Learn how to create seamless, compliant, cross-channel journeys for HCPs and patients.


Read this podcast as an article here 👉 https://iguazu.co.uk/articles/omnichannel-pharma-marketing-strategy?utm_source=Soundcloud&utm_medium=social_media&utm_campaign=mastering-omnichannel-2025&utm_id=podcast

Omnichannel Pharma Marketing Strategy

*Stereo reduction

‘Steel Wool’ is a 2 minute 3 second etude-based point-source Electroacoustic piece composed for 5.1 surround sound orientation. The compositional choices and form were instigated by a ‘scaffolding’ of speech to be replaced with sounds manipulated to share similar parametric qualities and changes. 

The primary sound sources featured are field recordings of a groaning metal seesaw, a wooden bench, jangling keys, an indoor fountain, a toy gong, and a Roland Juno-106. ‘Steel Wool’ was processed and mixed entirely in Logic Pro, using a range of plugins, namely a noise-gate, reverb, echo, compression, distortion and pitch, EQ and volume automation to enrich the timbre and spatial depth enabled by five channel composition, while allowing for an accurate reinterpretation of speech parameters. 

The piece constitutes four movements: groan, tumble, rest, and groan II, each containing their own iterations of different parameters of speech.

steel wool

Commissioned by the Cheriton Light Festival.
Supported by the AHRC research project ‘Into The Forest’, led by Dr. Eleanor Barraclough

‘Animal’ was inspired by Dr Eleanor Barraclough’s work on the forest themes and the podcasts that she had produced from that research. Karen conceived 'Animal' as an experimental work in using psychoacoustics in a public urban environment to awaken human instinct learnt over millenia.
Beginning in the modern day, the piece leads the viewer back to the Mesolithic landscape at the end of the last ice age. Extensive research was undertaken to re-create the forest sounds of that time through an immersive multichannel soundscape. A thoughtful moment occurs when the audience find themselves sheltering from the ‘rain’ in a cave, complete with paintings from yet another, much earlier era than the Mesolithic. The human presence in the landscape is the audience themselves, surrounded by the natural sounds and suggestive imagery of a world now lost to us.

“We found ourselves deep in the prehistoric forest edge, exploring the primal conditions from which storytelling emerges. what does a human brain do when given the raw materials of sound and silence, light and darkness, myth and memory? The audience reaction to the final sequence was like nothing I’d experienced.
Karen understands sound not only as atmosphere, but as a means to hold an audience in a moment, to guide their emotional and imaginative experience, and enhance their understanding.” - Eleanor Barraclough

Animal

Animal (Paleolithic Cave Painting - excerpt)

Animal (Mesolithic Forest - excerpt)

Commissioned by English Heritage for their property, Belsay Hall
Co-created with Belle Mellor, Myles McCloud and Ross Ashton (The Projection Studio)

This history-based animation was created to tell the story of the history of Belsay Hall.
It does this through a specially developed character, the Wild Man, which is an emblem drawn from the Hall’s history and the history of the Middleton family, who are most associated with it.

The multichannel audio was created in surround sound. The sound design was created to integrate with the unique structure and features that comprise the medieval kitchen space it is located in, and with the mapped architectural projection for the animation. 
The script and storyboard was developed between Karen Monid, Belle Mellor, the animator and Myles McCloud, who wrote the script and voiced the Wild Man, under Karen Monid’s direction. The projection design and technical director was Ross Ashton, under The Projection Studio.

VIDEO CLIP HERE:
https://vimeo.com/1108705711

“My 2 year old went to see this today with her grandparents and absolutely loved it, she can't stop talking about it!” -Instagram
“It’s amazing! We had loads of compliments about it” - Instagram
“This was absolutely amazing, our kids were completely in love with it” - Instagram

The Wild Man of Belsay

The Wild Man of Belsay (excerpt)

Commissioned by the AHRC research project, INTO THE FOREST, led by Dr Eleanor Barraclough. 
Created for Light Up Trails and exhibited at Sir Harold Hillier Gardens

This unique project was the result of a creative partnership with the historian, author and BBC presenter, Dr Eleanor Barraclough. 
'Song Of The Pine' integrated the cycle of forest ecology with the fireside storytelling traditions of the Vikings and Anglo Saxons, as seen through the life cycle of a pine tree, the original Christmas tree.
Atmospheric and emotional, the piece drew on the audience’s own ancient and instinctive response to the primeval supremacy of ice and fire and aimed to reconnect them to the fullness of forest life.
Using a combination of specially written poetry by Karen, the piece fused modern technology in the form of specially designed foliage projection and a 5.1 surround sound system with traditional storytelling, creating a compelling work suitable for an all age 21st century audience.

Video extract here:
https://youtu.be/uKziRcCkhAU?si=pjD2sGoSb3eee31D

‘Song Of The Pine’ was seen by 70,000 people and the piece was very well received, and was voted the ‘Audience’s Favourite’ by the visitors on the trail that year.

“Karen had clearly done extensive research into my work and used that foundation to craft a resonant, immersive experience. She composed a remarkable sound design that felt both ancient and vividly modern. Being recorded and directed by her as a narrator felt completely natural.” - Dr. Eleanor Barraclough

Song Of The Pine

Song Of The Pine ("It Sang" - excerpt)

Song Of The Pine (Gift Bringing/'The Angel Gabriel' - excerpt)

The title NEuripides merges “Neuron” and “Euripides,” reflecting both the technical method behind the composition and its aesthetic resonance. The piece is generated using an artificial neural network composed of four neurons - a minimal AI system that produces layered sonic gestures throughout the training process. These gestures, often repetitive and evolving, evoke the presence of an ancient Greek chorus: collective, ritualistic, and emotionally charged.

At the same time, the textures and timbres of NEuripides are deeply rooted in the contemporary world. They echo the spectral fragments that define our current sonic environment - from urban infrastructure to data flows and media noise. In this way, NEuripides becomes a dialogue between ancient voice and artificial system, memory and code, evoking how the echoes of the past can still speak through the networks of today.

NEuripides was first performed as a 4-channel fixed media work in Hannover Musik Hochschule in Kammermusiksaal Uhlemeyerstr as part of the exchange program between MIAM and HMTMH. 28/06/2025, 7:30pm.


NEuripides, for 4-channel fixed media (2025)

Assortment of Electroacoustic works and other demoes

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SHLUK is a noise trio dedicated to site-specific interventions and live performance. Their proposal of deep recording is usually presented in multichannel arrangements and unconventional systems of amplification. They are interested in sound and its vibrations beyond human perception, as a collective effort to understand sound as an ecologic marker, and its impact on human relationships.

Website: John-Fireman.com

Assistant Professor, Visual Arts, Bowdoin College, Brunswick, ME

How can form  evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interweave with the electronics. As its name signifies it is based on a subtractionprocess that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here: https://www.dropbox.com/sh/alutmo3h0ue30ec/AAC-LmZExoUMBr6lVgabz1YOa?dl=0

Sound Synthesis private maxmsp library: https://1drv.ms/u/s!AvxYMmv9_S-sgfRtKB-Vq4t2l1PE_g?e=o8BN6A 

PhD thesis: http://etheses.whiterose.ac.uk/20111/
Website: https://manolisekmektsoglousite.wordpress.com/
email: ekmektsoglou8@gmail.com 

BIOGRAPHICAL SKETCH

Manolis Ekmektsoglou studied composition in the Aristotle University of Thessaloniki, Greece with Dimitri Papageorgiou and in the University of York (PhD) with Thomas Simaku. He also spend a year in Hannover studying acoustic and electronic music (Hochschule für Musik, Theater und Medien Hannover), with Professors Ming Tsao, Gordon Williamson and Joachim Heintz. He is currently Assistant Professor of Acoustic and Acousmatic composition in the Technical University of Istanbul, Department of Sonic Arts, Center for advanced study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. The project comprised participants from Basel, Tel-Aviv and Thessaloniki. This intensive 4-year period included commissions and performances from various ensembles in Germany and Switzerland and culminated in a final performance that took place in Berlin in 12-13/04/2020. For more info enter here: https://www.labor-beethoven-2020.de/de, and for the final output: In Love…, for voice, ensemble and mixed media https://www.youtube.com/watch?v=ORJfUvJ0iUo, Circus Story: Taming the animals, for alto saxophone, percussion and fixed media https://www.youtube.com/watch?v=EhBiIEBGrY4

His pieces have been performed in Greece (DissonArt ensemble, New Hellenic Quartet, Off Borders Festival for electronic music in Thessaloniki, Music in Motion festival for dance and music, Athens), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker Musiktage 2018), Italy (Soundiff project), Hong Kong (AMGA ensemble), Spain (ensemble Regards Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival), Iran (International Electronic Music Festival, Reza Korourian Awards 2017), and the UK (Kinetic nights festival, Manchester, Andersson – Gallois – De Saram trio, Diotima Quartet, Psappha ensemble). Upcoming activities comprise performance of the existing work Ripping…having…standing…oben!!, for ensemble in Versipel New Music festival, Louisiana (postponed for 2021 due to pandemics) and a premiere of a work specifically written for MISE-EN festival, New York (postponed for 2021 due to pandemics). 

For a detailed CV follow this link: https://www.dropbox.com/s/hprdtba1p9plqhj/CV.pdf?dl=0

Karen Monid is a UK sound artist and projection specialist who has created award-winning sound art pieces and son et lumière works worldwide. Her work is regularly presented at arts festivals and large scale public events.

New tracks tagged #Multichannel