MULTI-CHANNEL SOUND
A workshop directed by:
Duncan Whitley (UK)
OBJECTIVES
This laboratory / workshop will provide participants with the conceptual tools and the technical know-how for the development of multi-channel sound installations, through a series of theoretical and practical explorations. Participants will examine the creative potential of sound as a sensual, sculptural and inherently spatial medium, whilst developing in parallel a theoretical framework based in acoustic communication.
The laboratory offers an introduction to:
- A historical overview of multi-channel sound practice and the contexts out of which it has developed;
- Technical aspects of setting up multi-channel installation environments, covering software and hardware options;
- Creative strategies for dealing with sound in physical space;
- Acoustic communication in theory and in practice;
- Listening and editing in the multi-channel environment, and practical approaches to multi-channel composition.
The laboratory will combine discussion of theoretical ideas with practical experimentation; the culmination of which will be a public presentation of collaboratively produced work within the group.
TARGET GROUP
Any person interested in experimental and multidisciplinary artistic practice.
STRUCTURE
Phase 1. Understanding multi-channel sound
- What does multi-channel mean? Examining conceptions of multi-channel sound and the contexts from which they have emerged;
- The basics of stereo sound production and spatial perception. The rudiments in theory and practice that will form the basis for conceptualising a multi-channel environment;
- Workflow – a methodology to take us from pencil and paper, to the software sequencing environment, to a multi-channel mixing environment.
Phase 2. Dealing with different kinds of raw material
- Looking at possible sound sources for a multi-channel sound installation;
- Field recording – an introduction to the art of capturing environmental sound;
- Audio processing. A look at good practice for preparing audio material for a multi-channel composition, and some useful digital audio processing tools for the job.
Phase 3. Space and movement
- Translation from a stereo sketch to a multi-channel listening environment.
- Point of audition as an issue for both the editor and audience.
- Thinking about space, movement and speed.
- Technical exercises for movement of sound within a multi-channel environment.
Phase 4. Multi-channel mixing and presentation
- Mixing techniques for making the most of your composition.
- A return to workflow – making your work portable for other software platforms, regardless of the software it has been created in originally.
- Finalisation of projects in preparation for public presentation.
- Project critique by participants and a discussion of areas for further development.
REQUIREMENTS
It is recommended that those participants who use sound editing / multi-track software (Adobe Audition, Logic, Pro Tools, Ableton Live, Audacity, etc.) bring their laptops. The workshop will not focus on the specifics of a particular software, rather on principles and techniques that may be applied across different platforms.
DURATION AND LOCATIONS
2 –5 days either in part-time or full-time (total duration: 12 to 20 hours), in dates and places to be announced.
LANGUAGE
The workshop is held in English, with translation to Portuguese, Spanish or Italian provided by Binaural members if necessary.
MULTI-CHANNEL SOUND
A workshop directed by:
Duncan Whitley (UK)
OBJECTIVES
This laboratory / workshop will provide participants with the conceptual tools and the technical know-how for the development of multi-channel sound installations, through a series of theoretical and practical explorations. Participants will examine the creative potential of sound as a sensual, sculptural and inherently spatial medium, whilst developing in parallel a theoretical framework based in acoustic communication.
The laboratory offers an introduction to:
- A historical overview of multi-channel sound practice and the contexts out of which it has developed;
- Technical aspects of setting up multi-channel installation environments, covering software and hardware options;
- Creative strategies for dealing with sound in physical space;
- Acoustic communication in theory and in practice;
- Listening and editing in the multi-channel environment, and practical approaches to multi-channel composition.
The laboratory will combine discussion of theoretical ideas with practical experimentation; the culmination of which will be a public presentation of collaboratively produced work within the group.
TARGET GROUP
Any person interested in experimental and multidisciplinary artistic practice.
STRUCTURE
Phase 1. Understanding multi-channel sound
- What does multi-channel mean? Examining conceptions of multi-channel sound and the contexts from which they have emerged;
- The basics of stereo sound production and spatial perception. The rudiments in theory and practice that will form the basis for conceptualising a multi-channel environment;
- Workflow – a methodology to take us from pencil and paper, to the software sequencing environment, to a multi-channel mixing environment.
Phase 2. Dealing with different kinds of raw material
- Looking at possible sound sources for a multi-channel sound installation;
- Field recording – an introduction to the art of capturing environmental sound;
- Audio processing. A look at good practice for preparing audio material for a multi-channel composition, and some useful digital audio processing tools for the job.
Phase 3. Space and movement
- Translation from a stereo sketch to a multi-channel listening environment.
- Point of audition as an issue for both the editor and audience.
- Thinking about space, movement and speed.
- Technical exercises for movement of sound within a multi-channel environment.
Phase 4. Multi-channel mixing and presentation
- Mixing techniques for making the most of your composition.
- A return to workflow – making your work portable for other software platforms, regardless of the software it has been created in originally.
- Finalisation of projects in preparation for public presentation.
- Project critique by participants and a discussion of areas for further development.
REQUIREMENTS
It is recommended that those participants who use sound editing / multi-track software (Adobe Audition, Logic, Pro Tools, Ableton Live, Audacity, etc.) bring their laptops. The workshop will not focus on the specifics of a particular software, rather on principles and techniques that may be applied across different platforms.
DURATION AND LOCATIONS
2 –5 days either in part-time or full-time (total duration: 12 to 20 hours), in dates and places to be announced.
LANGUAGE
The workshop is held in English, with translation to Portuguese, Spanish or Italian provided by Binaural members if necessary.
