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Location recording pilgrimage for Qivittoq

Milan-based renowned pianist, composer and sound recordist, Andrea Manzoni is part of a movement aiming to redefine the musical landscape with an approach that blurs the boundaries of traditional music styles. He recently made a transformative journey into Icelandic wilderness for the sound design of Qivittoq, a theatrical production set in the North Pole of a world rapidly depleting its resources.

Working from a draft script from the director, Manzoni secured a 30-day residency in the remote town of Isafjordur in the Westfjords, in order to make 12 excursions to locations devoid of human presence. Here, he was to capture raw environmental sounds with shotgun mics.

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The Nature of Spatialisation

Early March saw sound designer Simon Honywill using TiMax SoundHub and TiMax TrackerD4 performer stagetracking to bring spatial treatment to the Paraorchestra performance of The Nature of Why.

Composed by Will Gregory and choreographed by Caroline Bowditch under the artistic direction of conductor Charles Hazelwood, the production is an interpretation of the interview with physicist Richard Feynman asks in empirical terms why certain physical properties occur. Performed within the confines of a 14m circular space on the Lyric Stage at Theatre Royal Plymouth, with 100-120 audience members mingling amongst the players and dancers for each performance this is the first occasion that it has called on TiMax spatialisation.

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Theatro Marrakech upgrades with L-Acoustics

In 2003, Theatro Marrakech was the first music hall to open in Africa. Today, it ranks among Morocco’s best nightclubs and reckons to offer one of the most exceptional nightlife experiences in the world in the setting of its mainly original décor – a mix of dramatic theatrical and dynamic Moroccan themes.

The 2,000-capacity venue recently installed a L-Acoustics K2 sound system to attract leading international artists inspired by a visit to Omnia Las Vegas. The Theatro management worked with Paris-based nightclub consultant Timothée Renard of the Fox Agency and L-Acoustics Certified Provider Integrator Potar Hurlant for the upgrade.

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Britannia Row sheds new light on Cirque’s Alegría

Widely regarded as Cirque du Soleil’s most iconic touring production, Alegría iwas recently staged at London’s Royal Albert Hall as Alegria: In a New Light, before moving on to the Big Top at the L’Hospitalet de Llobregat in Barcelona. For this latest tour, its music has been re-arranged and modernised, and with different instrumentation.

Alegria is also Cirque du Soleil’s most streamed and purchased album of all time – a tribute that is down to Cirque du Soleil Head of Sound, Francois Lanteigne.

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Number Nine counts on Prism Sound’s Dream

Musician and producer Sebastian Omerson, the man behind Number Nine Studios, had added a Prism Sound Dream ADA-128 modular conversion system to his commercial recording facility in Belgium, following a series AB tests he conducted with support from Joystick Audio. ‘

The team at Joystick Audio were great – they let me take my time and compare products so that I could find what was best for us,’ he says. ‘The Dream ADA-128 came out on top, not least because the audio quality is so good. The sound is very focused, and even when I have noisy guitar bands in the studio, I can still hear each guitar individually. It is also ideal for string sessions where we need a lot of inputs.’

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Neyrinck V-ControlI read an iPhone app review on iTunes yesterday: ‘I’ve stopped using the Google Analytics website and just use the app…’ it claimed. It’s a big claim, given the extent of information Analytics provides. So I downloaded the app and gave it a try. And I had to agree…

I have a theory about smartphone apps. I think they are changing our whole approach to mobile devices and shaping future computer operation.

The idea behind apps – application software – is beautifully simple. They are designed ‘to perform singular or multiple related specific tasks’ and ‘to help to solve problems in the real world’. They have been taking shape on personal computers for a good while, but their distillation to mobile devices (phone and tablets) brings a new focus to their efficiency, elegance and importance.

In the beginning…

Before high-level operating systems and application software, the use of computers – even the smartest, smallest and sexiest – was limited to those prepared to take on command-line working. In stark contrast to the ‘intuitive’ interfaces provided by a desktop and mouse, these meant you had to know your syntax. Small mistakes invited major failure. There were no menus to drop down; no icons to click on.

HP9830A
Computing, then...

With the early-1970s Xerox research that enabled Apple to devise a ‘mouse and GUI’ approach (modelled on the early learning patterns of children), came new generations of personal computers that made sense to non-technical users. From business offices they spread to homes, and into schools, and into bedrooms. The apps that initially supported ‘office tasks’ like word processing and spreadsheets were joined by picture editors, illustration and design progams and desktop publishing. And games, games, games. Then came the internet and viruses.

The first smartphones promised more of the same, and made the internet mobile. But they had to work without the large screen, keyboard and mouse that desktop machines enjoy, and that made things tricky. Too tricky for a lot of applications, and very awkward for internet browsing.

But while genuine innovation is hard-won, refinement requires just another form of application.

We have all this great data…

Pinch technology made its debut at a TED talk given in 2006 by Jeff Han from the NYU Courant Institute of Mathematical Sciences. ‘The interface just disappears here…’ he says – more than once.

Equally significantly, he points out that ‘we have all this great data and we’re not really accessing it’. He could have been talking about that Analytics app.

Han's hands
...and now: Jeff Han's hands-on TED talk

Along with touchscreen technology and ‘touch and gesture’ technology from (now defunct) FingerWorks, pinch operation was key to the Apple's iPhone unlocking the small screen when it appeared in mid 2007.

Looking past the deluge of pointless novelty apps that belittle the power and significance of smartphones, successive iterations of ever more elegant apps are becoming the norm. Add in the introduction of the Apple iPad in mid 2010 – marrying the iPhone’s operational technology and use of apps with a larger screen – and the scent of revolution is in the air.

In a comparable move to Audio Video Bridging’s aim to simplify the design and operation of digital media networks, smartphones, tablet computers and apps are demanding that desktop computer software takes its next evolutionary step.

The secret of a great app design is not that it does something new, but that it takes available resources – internet information, processor power, GPS, Wi-Fi – and simplifies an otherwise difficult or laborious task. Or to ‘help to solve problems in the real world’. If a smartphone app can challenge a desktop app in its ability to access, order and navigate the volume of information offered by Google Analytics, it’s time to take the operation of personal computers and application specific DSP systems to a new level. And the first signs are here…

Alongside the AVB initiative, Symetrix is also showing the way to get smart. Plenty of manufacturers are releasing phone and tablet apps to aid support their equipment and systems, but Symetrix  adopted an ‘app style’ approach to ts Jupiter audio processor, promising ‘zero learning curve’ operation. Now we’re talking.

Back on our desks, we look set to take the step from screen-and-mouse to touchscreen. Add in the app approach, and the obvious implication is that computers will no longer look nor ‘feel’ like the computers we use now. Technology developers and industrial designers couldn’t wish for a better opportunity to exercise their skills and imagination, or to define new ways of working and playing.

And I can’t wait to see what they come up with. How about you?

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