New issue of Newsletter is available!

The main focus of this issue is the review of the Max Conference held in Brooklyn in October, 2011.  As opposed to many conferences that I have attended (SEAMUS, for instance), this was a more technical event.  The main focus was on programing, gear, and a variety of extensions to the Max environment.  Surprisingly, there was little music played!

Of course, the main focus was on the imminent release of Max 6.  We were able to download a preview demo of the latest upgrade, and it certainly looks exciting.  There are many new features, including a newly designed editor with a tool that allows you to select objects from a list within Max.  The new Gen object appears to have a multitude of functions that enhance speed and portability of Max patches.   Thanks to Lief Ellis, who wrote the proverbial lion’s share of the concert review.

Many of us have used CSound in the past – back in the days when a ‘text-driven’ program was the only option.  The program has continued to evolve, and the latest incarnation comes to us in the form of a plug-in for Ableton Live.  The plug-in is reviewed in this issue, thanks to Mark Zaki.

As usual, there is the Member News, which includes announcements of recent performances, recordings, and other news items.

You can get it here:  www.seamusonline.org/newsletter/2011-4.pdf

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02 2012

October 2011 issue of SEAMUS Newsletter

The latest issue of the SEAMUS Newsletter is here – a tribute to Max Matthews (with contributions by Jon Appleton, Jean-Claude Risset, and Mari Kimura), and a few other announcements.

You can read it all here: www.seamusonline.org/newsletter/2011-3.pdf

Enjoy!

Anthony Cornicello

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10 2011

SoundCrawl Nashville 2011

Soundcrawl welcomes audio submissions from composers, sound engineers, sound artists & tinkerers from every corner of the world. To date we’ve received some four hundred submissions from five continents, and brought the best of those pieces to the ears of music city. Our experience in producing this event has led us to the following guidelines:

Length: 7 minutes or less. (our audience is mobile, and prone to wander off during long pieces)

Genres: We accept anything in a fixed digital file, and try to cover our bases for the streams of activity as we see them: synthesis, music concrete, soundscapes & poetry. We also present video art, and are interested in interactive pieces/installations.

File Type: only .aif audio files titled LASTNAME_TITLE.aif will be accepted.

Video files should be h.264 mp4 files also titled LASTNAME_TITLE.mp4

DEADLINE: The Call for Works is open until August 1st, 2011. Selected artists (”SoundCrawlers”) will be notified by September 1st, 2011 and are welcome to attend.

RESIDENCY: there is no residency requirement.

FEES: there is a $5 fee per work submitted.

DISTINCTIVES: SoundCrawl presents the technical specifications of each work selected. Please provide information regarding DAW platform, plugin families, make and model of microphones, etc.

RIGHTS/PERMISSIONS: We produce audio compilations of every festival for sale to help offset costs. We also stream selected works online, and are developing additional avenues to make these incredible works available to an even broader audience. We ask for your permission to include your submitted works in these efforts. We remain committed to the livelihood of our artists through media exposure and commissions, but have found that the administrative costs far outweigh the benefits of managing and distributing royalties. (We tracked and paid royalties our first year and no artist was due more than $1 USD) If you are an artist with representation or an existing distribution deal, feel free to opt out, and we will honor your contracts by omitting your work from the compilations.


Artists interested in submitting work should visit www.soundcrawl.blogspot.com to submit their work.

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06 2011

EMPAC Summer Workshops

EMPAC – the Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute in Troy, NY – offers two unique one-week workshops this summer, each suited for advanced undergrads, graduate students, and professionals:

Composing for Large Scale Multi-Channel Loudspeaker Environments offers the opportunity to work in a very large 24-channel speaker set-up plus two “smaller” rigs (16 and 8 channels) while studying with Hans Tutschku (Harvard), one of the foremost composers for such configurations. This is a workshop with an emphasis on hands-on work, as well as discussion of participants’ pieces, aesthetics, and technology. June 5 – 10, 2011

Physical Modeling for Digital Audio Workstation Plug-ins is your chance to get an introduction on using computers to generate physical models of analog audio circuits with plug-in guru David Amels (Bomb Factory) as instructor. Participants will work together to reverse engineer and model the Shure Level-Loc (limiter/compressor unit) with a Shure SM57 microphone attached – and then integrate it as functional VST plug-in. The best way to learn with an expert in the field! July 18 – 23, 2011

Download PDF: http://empac.rpi.edu/workshops/2011/EMPAC_Workshops_Announcement.pdf

For more information: http://empac.rpi.edu/workshops/

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04 2011

Creative Musicians Retreat 2011

The Walden School is pleased to announce its Creative Musicians Retreat, to be held June 11-19, 2011 at Smith College in Northampton, Massachusetts (USA). Designed for composers, improvisers and performers (18+), the workshop will allow participants to engage in creative music-making through musicianship, composition, improvisation, computer music, choral singing and more. All participants will have the opportunity to write for our Ensemble-in-Residence, the International Contemporary Ensemble (ICE). This year, electro-acoustic composer and former SEAMUS President, Russel Pinkston will be composer in residence.

For more information and to download an application, please visit the program website www.waldenschool.org/retreat or contact us at retreat@waldenschool.org or call The Walden School at (415) 648-4710.

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02 2011

Other Minds Composer Fellowship 2011

The Other Minds Composer Fellowship presents composers with the opportunity for a unique residency in conjunction with the 16th Other Minds Festival of New Music, dubbed by the LA Times “the premier new music festival west of the Rockies.”

Works by OM Fellows will be performed by the resident Other Minds Ensemble, in a concert in San Francisco on Wednesday, March 2, 2011. In addition, Fellows will participate in a series of residency events from Sunday, February 27 through Saturday, March 5, 2011, including lecture-presentations, panel discussions, workshops, and seminars.

For more information, visit the Other Minds website.

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09 2010