Up Your Output 2017 took place in March 2017 at Southampton Solent University Conference Centre. Here are the highlights…
Varun Nair spent the past decade with audio, software, VR, AR and interactivity on over 400 projects — including software development, product management, media post-production and interactive content production.
Born in India, he worked in music and post-production before moving to Edinburgh to study for an MSc in Sound Design at Edinburgh College of Art (ECA), part of the University of Edinburgh.
He co-founded the company Two Big Ears with another student Abesh Thakur in 2013, and led development of audio tools and technology for Virtual Reality, Augmented Reality and emerging immersive media. Two Big Ears’ technology has been widely used in the “first wave” of VR and AR content in 2016 — Lucky’s Tale, Björk, Massive Attack and many more.
Two Big Ears was acquired by Facebook in 2016, and Varun is continuing his work with the company.
Adam Sawkins is an audio developer and games designer. He worked in in the games industry as an audio programmer from 1999 until 2011, at which point he left to run his own games company. In his time in
the industry he has worked for Climax Brighton, Criterion Games, Codemasters, Freestyle Games and Sumo Games, and now runs his own company Projector Games.
He has won a number of audio awards for games development, including 5 BAFTAS, working on mainstream titles such as Gumball Rally, MicroMachines, the Burnout series, F1, Colin McRae Dirt 2 and Race Driver: Grid. Outside the driving genre he has worked on games such as Black (Criterion), Dr Who (Sumo Games) and Jericho (Codemasters).
This talk looks at the car from the perspective of a game audio developer – i.e. all the bits which make noise. Adam will examine how each of the elements of a car work and what they sound like, and why this matters to an audio developer. He then looks at the difficulty of squeezing all those sounds onto devices with less than 2 MB of Audio memory (from Playstation 2 or a modern smartphone), as well as tricks used to make the sound both realistic and exciting.
Barry “Bazza” Grint is an English mastering engineer and member of the mastering group of the Music Producers Guild (MPG). Grint has worked on over 20 UK Number One records and more than 100 UK Top Ten hits. Projects for artists include: Madonna, Prince, Puff Daddy, Eric Clapton, David Bowie, The Beatles, Oasis, Keane, Beach Boys, Jessie J, Rod Stewart, Paul Simon, Van Halen, Michael McDonald and A-ha.
He began cutting records at Trident Studios in 1984 mastering international tracks for the UK and Europe. He identified his work by etching Bazza in the run out groove and of the years various incarnations have included Bazza @ Audio One, Bazza @ Tape One, Bazza @ Porky’s, Bazza @ Abbey Road and Bazza @ Alchemy. He is now mastering and cutting vinyl at Alchemy’s studios in Brook Green, London.
With sales in vinyl recently outstripping digital downloads, skills in vinyl mastering are as important as ever. Barry will be looking at the process of vinyl mastering and record manufacture, Mastering in general and embedding ISRC codes and RIN files to get paid for your work.
Rob France is Senior Product Marketing Manager for Dolby. Rob is responsible for working with Dolby’s customers to develop the market requirements to deliver new audio experiences. His current focus is the introduction of Dolby Atmos for live sports with BT Sport.
Prior to his current position at Dolby, Rob worked for Sony as a Product Marketing Manager. He was responsible for developing the market for camcorder products for the broadcast and semi-professional markets. Before his time at Sony, Rob had previously worked for Dolby in various roles covering product management and broadcast systems. Rob worked alongside many broadcasters across Europe and beyond on the introduction and rollout of 5.1 surround sound with their launch of HD services.
He holds an MBA from Cranfield University, UK, and an MEng degree in electronic engineering with music technology, from the University of York, UK.
In this session Rob will provide an overview of how live sport can benefit from enhanced audio experiences. He’ll review the system being implemented by BT Sport for their UHD with Dolby Atmos premier league coverage. Looking at the challenges, compromises and the potential that introducing new technologies to a live environment brings and proposing some of the further enhancements we may hear in the future.
Charlie Slee is an electrical engineer and product designer. He runs Big Bear Audio Ltd designing and manufacturing high end consumer and professional audio products.
Charlie holds a Masters degree in Sound and Music Computing at Queen Mary, London, and previously was an electrical engineer at Thermionic Culture.
His personal and professional focus is to support all aspects of the industry including working with artists and producers to innovate new products, acting Events Manager for the Music Producers Guild.
Charlie’s talk will examine how to (and how not to) start a new brand in the audio industry, managing your time and your expectations. This lecture will delve into the pitfalls and pathways to success in the modern audio industry, how to effectively make waves and simultaneously stay afloat.
Jim Simmons & Adrian Wisbey
Jim Simmons, the product owner for Audio Streaming at the BBC, and Adrian Wisbey, Audio Specialist give an overview of the BBC’s Audio Factory, which delivers over 100 live audio streams plus on-demand audio and podcasts on a daily basis across the world to a massive range of devices.
They will discuss some of the issues facing audio streaming – including work with the AES on streaming loudness standards – and look towards the BBC’s “internet fit” strategy and how object based broadcasting may change the studios and receivers of the future.
The talk looks at how the BBC gets all the audio streams from their broadcast infrastructure to internet devices, and how the BBC and AES are working together on new loudness standards for online streaming and how that may affect the portable devices of the future.
Simon Short is UK Pro Audio Business Manager for Focusrite.
Simon has been heavily involved in the implementation of Dante in the Industry with RedNet, Focusrites Flagship range of Audio over IP converters and Preamps. Along this journey, he has provided live multi track recordings for artists such as Goldie and the Heritage Orchestra, Goldfrapp, Imogen Heap and many more.
Simon will be providing a presentation on how Dante has changed the way both live and studio workflows are designed, and how the audio Industry has evolved with regards to Audio over IP solutions.
Kyriakos Papanagiotou is managing director of KP Acoustics.
Increased his absorption coeffcient by a BEng in Electroacoustics from the University of Salford. Amplifed his productive frequency spectrum by a MSc in Sound and Vibration from ISVR. Generated a resonance by a PhD in Signal Processing for Speech from ISVR. Prefers the grand scheme of things. No-nonsense doer. Creative thinker. Loves working with pioneering ideas and building teams to realise them. Believes in knowledge, synergy and soul.
Nikolay Georgiev – SAE Institute/Acustica Audio
Nik was born in Sofia, Bulgaria. At 15 he made his first four-track recording and since then has been recording and mixing projects from classical, rock, electronic and experimental avant-garde music. Nikolay’s educational profile includes an undergraduate course in general engineering at the Technical University of Sofia, first class honours degree in Philosophy at the University of Sofia (with additional specialisation at Universität des Saarlandes, Germany) and a 2-year course in Audio Engineering at SAE Institute London. He now works as a Music Producer, Recording Engineer and an internal and 3rd party Plug-in Developer for Acustica Audio‘s Acqua platform and represents the company in the UK. Nikolay also holds a position as an Audio and Music Production Lecturer at SAE Institute London. Nik is a past chair of the AES UK Section. As student liaison and events coordinator for the AES, Nik chaired the first two editions of the annual Up Your Output! event — the UK’s first in many years designated specifically for Student Members.
This workshop will look at drum recording and mixing, focussing on unusual and creative techniques that make a kit sound great and a production stand out.
Ioana Barbu – Bauer Media.
Ioana is a music producer (including recording / mixing / mastering) sessions for all the Bauer brands in London, at One Golden Square: Absolute Radio, Planet Rock, Kerrang!, Kiss and Magic. Nominated for Best Music Producer – Radio Production Awards 2015. Session work included artists such as Bryan Adams, Stereophonics, The Smashing Pumpkins, Jack Savoretti, Catfish and the Bottlemen, Gaz Coombes, Blossoms, The 1975 etc.
Due to her background in radio, she specialises in Broadcast Technology, with responsibilities such as broadcast and playout systems, broadcast infrastructure, delivering national and international outside broadcasts. Ioana continues to freelance as a mastering engineer at Formation Audio, studio led by mastering engineer John-Paul Braddock.
Live Sound (Sponsored by Harman international and d&b audiotechnik)
Andrew Horsburgh & Jon Burton.
Andrew J. Horsburgh is a full time lecturer in media technology at Southampton Solent University. He joined Solent University in August 2013 from the University of the West of Scotland. Andrew’s responsibilities include sponsoring engagement between the media industry to foster student employability, and developing a wider profile for the four degree pathways. Previous to lecturing Andrew was a freelance sound engineer. His professional experience consists of providing sound system design, construction and installation, operation, and quality assurance across the UK. From 2006 until 2012 Andrew worked for the O2 Group, Analogue Live, A-Live Productions, Black Box Pro Audio, and the International Guitar Foundation. He continues to work in the industry, and has most recently toured as the front of house engineer for Sundara Karma.
Jon Burton has been sound engineering since leaving school. As a monitor and front of house engineer he has worked at the highest level with acts such as Stereophonics, Pendulum and, for the last ten years, The Prodigy. Jon has also delivered guest lectures in colleges and universities from Newcastle to Serbia. He also runs The Laundry Rooms Studios recording studio complex in Sheffield as well as maintaining an ever growing collection of vintage mixing desks for rental.
He has a broad knowledge of many aspects of sound engineering, from live, to studio and broadcast. His love of sub is well known, as is his interest in echo machines, with a collection that currently stands at around 25 different units.
About Harman International: A musical performance is about people coming together to share a message, a talent, and an experience. Great audio is the foundation of that experience. It’s the connection that binds us together. With great sound, the audience feels more, hears more, and is immersed more in the experience. Music is a communal experience generated by the artist, delivered by the engineer.
This is the foundation upon which Harman products including JBL, Crown, AKG, Soundcraft and Lexicon designs are based on, and why some of the world’s greatest engineers and performers make them their first choice. Harman’s customers reach back as far as Elvis and Sinatra, right up to today’s performers including; Chase and Status, Laura Mvula, Massive Attack, Tinie Tempah, Lenny Kravitz and Maroon Five.
Audio for Games using Wwise and UE4
Chris Barlow – Solent Acoustics/Southampton Solent University
Chris studied Music at the University of Sheffield and Music Technology at the University of York. Always interested in the science of sound, Chris moved into acoustics for his PhD at the University of York, specialising in voice and speech analysis, and completed in 2003 to work in a postdoctoral research fellowship at Leeds College of Music. He moved to Southampton Solent University in 2004 as a lecturer in audio engineering, was made Reader in 2009, Associate Professor in 2012 and Professor in 2016. He has taught in both the Secondary and Higher education sectors as a specialist in Audio Engineering and Acoustics. Particular interests include audio production, sound design, spatial audio and sound for video games, with recent projects focusing on 3d and virtual reality. Chris is Head of Solent Acoustics – the university’s acoustic consultancy and training business.
This practical workshop will introduce the WWise audio engine, and look at the process of creating sounds in the engine, and integrating them with a game in the Unreal 4 games engine.
Careers in the audio and music products business (Sponsored by Interfacio Ltd)
Jo Hutchins – Interfacio
Jo is a recruitment consultant specialising exclusively in recruiting design engineers for R&D departments within the audio and broadcast industries. She studied Electronic Engineering at Nottingham University, followed by completing a part-time Masters Degree in Environmental Acoustics at London South Bank. She started her career in engineering on an apprenticeship course sponsored by Thorn EMI, and after gaining experience in a variety of departments, then moved to Soundcraft to design audio mixing desks, focussing on software development for large automated analogue consoles. An active musician and pianist, she enjoys playing a wide spectrum of music in her spare time, ranging from Mozart to Mingus. Jo now works for Interfacio, where she is able to use her experiences from within the industry to match up talent with the exciting opportunities available, and provide support and advice to young engineers.
Richard Wear – Interfacio
Richard is the Founder and Principal Consultant for specialist recruitment agency, Interfacio. He’s worked in the professional audio industry since graduating from Warwick University, England in 1986 with a BSc Hons in Engineering Science. Initially working in direct sales of high-tech recording equipment supplying the UK music, recording and TV sectors, Richard moved on to work for the Japanese manufacturer Fostex where he became sales and marketing manager for the company’s range of professional audio products. There he spearheaded the development of a number of ground-breaking digital audio products designed for the film and post-production markets. During this time Richard worked on numerous product development and marketing assignments in Europe, Asia, the USA and the UK. In addition to working with distributors and customers in all parts of the world, his experience has given him a unique insight into the diverse business challenges and methodologies needed by a specialist global technology brand business. Richard’s workshop will include advice and guidance for young people looking to take their first step into the world of professional audio.
Loudspeaker Design concepts (sponsored by PMC)
Ian Downs – PMC Loudspeakers. Ian is the UK Sales manager for professional products for PMC loudspeakers. PMC are one of the very few companies who have been awarded an Emmy® for their contribution to recording excellence. With film, it would be easier to list the blockbuster movies which did not use PMC during the process of music production and post! But titles include: Titanic, Mission Impossible, Captain Phillips, Pearl Harbor, Game of Thrones – TV, Iron Man 1& 2, Skyfall, Spiderman 1,2,3 and Pirates of the Caribbean and many many more. PMC are one of the top monitor brands across the professional audio world, from broadcasters to mastering houses.
This workshop looks at the different design concepts behind loudspeakers, considering the pros and cons of Transmission Line vs Sealed cabinet vs ported reflex design.
Audio Test and measurement
Graham Boswell – Prism Sound.
Graham is Prism Sound’s original founder and current Joint Chief Executive and Director of Sales and Marketing. He manages the business in partnership with Chief Technology Officer Ian Dennis. Graham graduated in Electronic Engineering Design and Production from Middlesex Polytechnic (now Middlesex University) in the UK and is an experienced Electronics Engineer and an audio enthusiast.
This workshop will review traditional measurements like frequency response and THD+N and then look at FFT analysis, covering a fundamental understanding of FFT (and helping to avoid some of the misunderstandings about FFT analysis). This will be demonstrated using Prism Sound’s dScope tools. There will be a practical, hands-on element, and delegates wanting to participate in this workshop are welcome to bring their own devices to test.
Optimising your studio monitoring – speakers, acoustics and room calibration
Paul Mortimer – Emerging UK & Roger Roschnik – PSi Audio
Paul is the Managing Director of Emerging UK, a leading Pro Audio and high end HiFi equipment sales and distribution company who specialise in quality brands such as Merging Technologies, PSI Audio, Trinnov Audio, Avid and DAD for recording, mastering, post production broadcast, live events and home.
Paul began his career in 1984 aged 16 as a tape op in a small local studio in Canterbury and soon progressed to Abbey Road Studios where he trained as an engineer. Later he joined record producers Clive Langer and Alan Winstanley as chief engineer at their London based Westside Studios and residential studio Hook End Manor near Henley. During his engineering career Paul worked with artists such as Freddy Mercury, Morrissey, Chris Rea, Gary Moore, Deacon Blue, Saxon, Hot House Flowers, Duran Duran, Stevie Wonder, Madness and many more. After 3 years as a freelance engineer, Paul became involved in the development of the Sony OXF-R3 “Oxford “ digital console which then lead to a full time role for Sony as Product Manager for digital consoles. Paul then joined Total Audio Solutions to develop the distribution of Merging Technologies Pyramix DAW in the UK which subsequently lead to Paul forming Emerging in 2007.
Roger is a long term audio passionate with a degree in mechanical engineering as well as a MBA. He started his career in engineering consultancy before spending 12 years in a leading multinational company. Following his entrepreneurial spirit, he then started several industrial companies in Switzerland and abroad as well as working as an independent consultant in various fields. Roger joined Relec SA as CEO in 2014 when Alain Roux, the founder stepped down.
Paul and Roger will be running a workshop on the design of active loudspeakers, the effects room acoustics has on your monitoring and how the latest technologies in Active Bass Absorption and 3D DSP correction can improve the imaging, timing and modes of any room to achieving an accurate reference. Practical demonstrations and listening sessions will be made.
Transaural audio – Development of a 3D soundbar
Dr Marcos Simón – ISVR.
Marcos is a 3D audio scientist within the Institute of Sound and Vibration Research. Marcos Simón graduated in 2010 from the Technical University of Madrid with a BSc in telecommunications. After a short time working in video engineering, he came to the University of Southampton, where he pursued an MSc in Sound and Vibration. In ISVR, he got a PhD working in personal audio with loudspeaker arrays for improving speech intelligibility in hard of hearing people, and also in the modelling of cochlear mechanics. He is currently working on the S3A spatial audio program “Future Spatial Audio for an Immersive Listening Experience at Home”. In 2013 he has been awarded with the IOA young persons’ award for innovation in acoustical engineering and the Sociedad Española de Acústica (Spanish Acoustical Society) Andrés Lara prize for young scientists. He has interests in binaural audio and is quite keen about funk, flamenco and motorcycles.
This workshop looks at the concepts of transaural audio and the development of a 3d soundbar technology, including practical demonstration.
Delighted audience. Happy neighbours
Oran Burns – d&b audiotechnik. After the realisation that keyboards and synthesisers were too difficult to master, the sound desk became Oran’s instrument of choice. Initial forays involved mixing a friend’s cover band in local pubs which highlighted the need for formal training. After enrolling as a live sound student at the Sound Training Centre in Dublin a whole new world of opportunity opened up. Following a studio assistant role and various live gigs in and around Dublin, a chance meeting with an established engineer led to regular gig mixing at the Spirit Store in Dundalk. The Sound Training Centre then took him back, this time to teach their live sound course, but also mix gigs in The Button Factory. Oran joined the d&b education and application support team in 2010 to boost development of the education programme for customers and end users throughout the UK and Ireland.
In ‘Delighted audience. Happy neighbours‘ Oran Burns will discuss how we can predict sound propagation over distance from complex sound sources and explore the methods and technologies available in delivering an enhanced audience experience with reduced offsite disturbance.
Guitar Speaker Measurements – Anechoic to Studio
Andrew Harper, Celestion/GP Acoustics. Andy is a Research Engineer at Celestion, based in Ipswich UK. A trained listener and guitarist with live and studio experience, he has designed a number of guitar speakers currently in production, and led Celestion into the digital era with the launch of Celestion Impulse Responses. He has worked on many PA speaker and system designs whilst at Celestion, and has worked to further their modelling, measurement and waveguide design practices. He graduated with a BSc in Physics in 2009 from Royal Holloway University of London, then gained an MSc in Sound and Vibration Studies from the ISVR University of Southampton in 2011.
This discussion will look at guitar speaker measurements, and impulse responses. It will look at why mic position affects the sound, plotting the frequency response of typical studio microphone techniques, and relating this this to more standard anechoic on-axis and power measurements as well as polar and contour plots.
Pure Data – Zero to Hero (double length workshop)
Andy Farnell is a computer scientist from the UK with specializations in signal processing, modelling and synthesis. He is a pioneer of procedural audio and the author of MIT textbook “Designing Sound”, Andy is visiting professor at several European institutions and consultant to interactive media companies. He is a senior lecturer in Audio Engineering at SAE London and also currently works as Head of R&D at Mogees Ltd. Andy is also an enthusiastic advocate and hacker of Free open source software, who believes in educational opportunities and access to enabling tools and knowledge for all.
Zero to Hero Pure Data Workshop – Learn basic music DSP in a day. High intensity 3.5 hour workshop. Bring a laptop with Pure Data installed, and patch along with Jedi Master instructor to create drums, synthesisers and effects.
While there will be computing facilities available for this workshop, it is ideal for participants wishing to attend this workshop to bring their own laptop with the vanilla PureData version installed (http://puredata.info – can run on Mac, PC or Linux). You will also need a set of decent headphones, and ideally a mouse
Integrated & Holistic Sound System Design in Buildings
Andy Lambert (Arup Acoustics)
This seminar will look at how sound systems affect the architectural design of a building and how early strategic advice on the implications of the sound system design (and it’s intended audio content) can avoid problems later in the design process and, most importantly, avoid a poorly integrated final design. The seminar also looks at the limitations of loudspeaker technology in overcoming ‘hostile’ acoustic environments.
Special Events and Installations
A Path into Rainforest (2011)
From the long-term project
Fragments of Extinction – The intelligent sound of Ecosystems
by David Monacchi
The original ambisonic data were carried out during a field recording campaign in 2008 into the Dzanga-Sangha dense forest reserve (Central African Republic), one of the most rich biobiversity areas in the African equatorial forest. The habitats chosen for the piece are seasonal swamps, high canopy forests and salines (Bai) where forest elephants use to come daily to gather minerals at the sandy bottom of the stream. The composition is built mostly with unaltered field recordings, observing the eco-acoustic composition principles, . All sounds heard originate from the habitats’ configurations. The first and last sections are single recordings, showing the fragile equilibrium of this ecosystem and the vitality of a group of Lophocebus albigena monkeys, eating and throwing fruits from above. In the central part of the piece several recordings of a swamp habitat are superimposed and explored in the temporal and frequency domains, resulting in a dramatic climax. The composition represents the most surreal and frightening aspects of the African dense forest and its impressive sonic diversity, where sound masses of insects and amphibians alternate with birds, monkeys, large mammals vocalizations and geophonies (thunders in this case), where the original three-dimensional reverberation is impressively reconstructed in ambisonics.
About the artist:
David Monacchi is a sound artist, researcher and eco-acoustic composer. He has been developing his multidisciplinary project Fragments of Extinction for nearly 15 years, conducting field research in the world’s remaining areas of undisturbed primary equatorial rainforest. The recipient of multiple awards throughout Europe and North America, Monacchi is pioneering a new compositional approach based on 3D soundscape recordings of ecosystems to foster discourse on the biodiversity crisis through music and sound-art installations. A Fulbright fellow at UC Berkeley (CA) in 2007, he has taught at the University of Macerata (IT) since 2000 and is now professor of Electroacoustic Music Composition and Eco-acoustics at the Conservatorio “G. Rossini” of Pesaro (IT).
Wessex (Parts 1 & 2)
by Chris Barlow
We live in a noisy world, with human-made sounds particularly triggering our stress reflexes. The function of the soundscape in an urban environment is to immerse the listener in the natural world, reducing stresses and anxieties by reconecting with nature. ‘Wessex’ is a collection of soundscapes which highlight the sounds of the natural environments of the historical region of Wessex in the South of England. The first pieces focus on the soundscape of the New Forest, which offers a continuously varying palette of sounds, from rutting stags to waves on the seashore.
1. Flow (2017)
The sound of water flowing is one of the most calming, and this piece focuses on immersing the listener in the path of the raindrop, from the initial rainfall onto the leaves of the New Forest, dripping into the puddles and pools, and then flowing through the streams of the forest through to the sea. The sounds are a mixture of ambisonic and mono recordings made in the winter of 2016-17. Recording late at night and early morning means that there is very little other noise, and gives the listener the ability to focus just on the sound of the water, without the intrusion of other sounds.
2. Wake (2017)
The forest is never silent, but the sound progresses and changes continuously throughout the day, as well as changing with the seasons. One of the core sounds of the forest is that of the bird life. Over 100 species of birds nest and breed in the New Forest, with another 20 regular winter visitors or passing migrants. The bird life in the forest is quiet at night, with only occasional calls from nightbirds, and then as the dawn approaches, more of the songbirds wake and burst into song. There is a sequence, with some species starting earlier than others. The dawn chorus changes throughout the year, with winter being more subdued, and then becoming more varied and louder as the birds enter their breeding season from spring into summer. This piece is taken from the winter months, where the chorus starts later, and gives the perspective from one of the quietest places in the New Forest. Listeners can experience the feeling of being in the forest through the transition from nighttime to dawn as the birds wake. Ambisonic recordings were made from January to February 2017.
Chris Barlow is Professor of Acoustics at Southampton Solent University. Having originally trained as a musician and recording engineer, working in the classical music industry, he then moved into the acoustics field for his PhD. He has remained on the border of the creative and technical worlds ever since, focusing on acoustics, but particularly on its application in arts, design and health. He has a wide range of interests, including audio production, sound design, spatial audio and sound for video games, with recent projects focusing on spatial audio and sound for virtual reality. He also has research interests in acoustics and health, and the impact of negative ‘noise’ and positive ‘sound’ on health. Chris is particularly interested in soundscaping as an aspect of urban design, both as a means of reducing the impact of the man-made world on our lives by re-linking us with the sound of the natural world, from which many people have become disconnected.
remembering rain: variation for bucket, cymbal and spatial array.
In his book, Touching the Rock, blind theologian John M. Hull, describes how listening to the sound of rain falling in his Birmingham garden, ‘throws a coloured blanket over previously invisible things.’ For Hull, the sound of rain provides a ‘continuity of acoustic experience’ establishing a sense of perspective and placing him here, in an emerging and precipitating now.
In remembering rain, a damp blanket of rainfall recordings is thrown over another invisible landscape, uncovering a rhythmic, dripping orchestra of spatial volumes. Using contact microphones and hydrophones to record the sound of rain falling upon and through a number of objects, a bucket, cymbal and Cathedral gutter, every raindrop arrives wrapped in an acoustic memory of space and substance. In this variation for spatial array the percussive disarray of recorded rain is re-arranged to immerse the listener in an arid downpour of remembering rainfall.
About the Artist:
Sebastiane Hegarty is an artist, writer and lecturer. His practice is interdisciplinary and time-based in nature and his research interests concerned with the relationship between time, place, and sensation. Most recently this has focused on the materiality of sound and the perceptual geographies of listening, through soundscape composition, field-recording and the creation of phonographic objects and actions.
Recent work includes, rain choir, a site-specific sound installation for the crypt of Winchester Cathedral, variations of which have been installed, performed and broadcast in galleries, museums and on radio stations across the UK and Europe (IMT Gallery, London, 2015, Helicotrema at Museum Punta della Dogana, Venice, 2016, Radiophrenia, Glasgow, 2016). Works for radio include, It’s Just Where I Put My Words (2013), commissioned for the BBC Radio 3’s Between The Ears. A lecturer in The School of Art, Design & Fashion at Southampton Solent University, his sound-work is published through Impulsive Habitat, Gruenrekorder and Very Quiet Records. Sebastiane received his PhD from the Sculpture Department of Winchester School of Art at the University of Southampton.
UP! 2017 Committee
UP! Organising Committee
Professor Chris Barlow – Southampton Solent University
Dr Marcos Simon Galvez – ISVR, University of Southampton
Marc Oliver Bahl (Student chair) – Southampton Solent University
Dr Andrew Horsburgh – Southampton Solent University
Simon-Claudius Wystrach (past chair) – University of York
Nikolay Georgiev (Founder) – SAE Institute/Acustica Audio
Co-Chair – Professor Chris Barlow
Dr Barlow studied Music at the University of Sheffield and Music Technology at the University of York. He worked in the recording industry, as a recording engineer for in classical music. Always interested in the science of sound, Chris moved into acoustics for his PhD at the University of York, specialising in voice and speech analysis. He completed in 2003 to work in a postdoctoral research fellowship in Music Technology at Leeds College of Music. He then moved to Southampton Solent University in 2004 as a lecturer in audio engineering, was made Reader in 2009, Associate Professor in 2012 and Professor in 2016. Particular interests include audio production, sound design, spatial audio and sound for video games, with recent projects focusing on spatial audio and sound for virtual reality. He also has particular interests in hearing conservation and hearing loss in the music industry.
Chris is Chair of the South of England group of the Audio Engineering Society, sits on the Southern Branch committee of the Institute of Acoustics, and also on the UK National Executive of the Audio Engineering Society.
Co-Chair – Dr Marcos Simon Galvez
Dr Marcos Simón is a 3D audio scientist within the Institute of Sound and Vibration Research. Marcos Simón graduated in 2010 from the Technical University of Madrid with a BSc in telecommunications. After a short time working in video engineering, he came to the University of Southampton, where he pursued an MSc in Sound and Vibration. In ISVR, he got a PhD working in personal audio with loudspeaker arrays for improving speech intelligibility in hard of hearing people, and also in the modelling of cochlear mechanics. He is currently working on the S3A spatial audio program “Future Spatial Audio for an Immersive Listening Experience at Home”. In 2013 he has been awarded with the IOA young persons’ award for innovation in acoustical engineering and the Sociedad Española de Acústica (Spanish Acoustical Society) Andrés Lara prize for young scientists. He has interests in binaural audio and is quite keen about funk, flamenco and motorcycles.”
Student Chair – Marc Oliver Bahl
Marc is 26 years old and from Denmark. He is currently studying Music production at Southampton Solent University, and works as an assistant engineer at Aubitt studios. He has been working in music production for 10 years, and has worked with artists like Aliens from Earth, Marcos Bessa, Thomas Hansen & Michela Dybdal among others.
Organising Committee – Dr Andrew Horsburgh
Andrew J. Horsburgh is a full time lecturer in media technology at Southampton Solent University. He joined Solent University in August 2013 from the University of the West of Scotland. Andrew’s responsibilities include sponsoring engagement between the media industry to foster student employability, and developing a wider profile for the four degree pathways.
Previous to lecturing Andrew was a freelance sound engineer. His professional experience consists of providing sound system design, construction and installation, operation, and quality assurance across the UK. From 2006 until 2012 Andrew worked for the O2 Group, Analogue Live, A-Live Productions, Black Box Pro Audio, and the International Guitar Foundation as a freelance sound engineer.
Past Chair – Simon-Claudius Wystrach
Simon-Claudius Wystrach is a media technologist, engineer and researcher. Drawing from his wide background in fields such as audio engineering, music production, electronics, computer science and visual media he is currently undertaking an MSc By Research in the Audio Lab of the University of York’s Department of Electronics.
Apart from being a freelance Audio Engineer, Simon-Claudius is an experienced Sound Designer and Audio Programmer and has recently worked as Audio Director for Revolution Software developing the multi-platform video game ‘Broken Sword 5: The Serpent’s Curse’.
His professional and research interests further include programming and software engineering, human-computer interaction, music and audio information retrieval, video production and photography, and visual and mechanical design.
Simon-Claudius is an active AES Member having held multiple positions within the organisation. He just finished his term as Chair for Europe and International Regions of the AES Student Delegate Assembly and is Chair of the AES York UK Student Section. As such, Simon has been involved in organising and running AES Conventions, earlier editions of ‘Up Your Output!’ and other AES events around the world.
Nikolay Georgiev was born in Sofia, Bulgaria. At 15 he made his first four-track recording and since then has been recording and mixing projects from classical, rock, electronic and experimental avant-garde music. Nikolay’s educational profile includes an undergraduate course in general engineering at the Technical University of Sofia, first class honours degree in Philosophy at the University of Sofia (with additonal specialisation at Universität des Saarlandes, Germany) and a 2-year course in Audio Engineering at SAE Institute London. He now works as a Music Producer, Recording Engineer and an internal and 3rd party Plug-in Developer for Acustica Audio‘s Acqua platform and represents the company in the UK. Nikolay also holds a position as an Audio and Music Production Lecturer at SAE Institute London. As student liaison and events coordinator, Nik chaired the first two editions of the annual Up Your Output! event — the UK’s first in many years designated specifically for Student Members.