Forum: Copyright Law

11/08/2019, 14:00 – 17:00
Micki Meuser

European and international Copyright Law

On March 26th 2019, the Parliament of the European Union approved the controversially discussed reform of copyright law. The focus was and still is on the discussion on Article 13.
What does this article regulate and what does European copyright law look like in comparison to international copyright law?

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Flaterate:
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Flaterate:
2.500 € (incl. 19% VAT) for any of master classes, workshops, forums and special events – incl. MasterClass SoundDesign with Randy Thom
Student Discount: 20 %
Working Language:
englisch
Location:
Elsa Brändström Haus, Hamburg-Blankenese

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Micki Meuser is the composer of numerous film scores for film and television as well as the producer of several well-known German artists. He is 1st chairman of the German Film Composers Union DEFKOM, member of the board of the German Composers Association DKV and member of the supervisory board of GEMA.

Forum: Radical Soundtracks

18/08/2019, 10:00 – 13:00
Alexander Hacke

Strategies Against Stereotypic Film Music

The goal of this Forum is t o familiarize a new generation of emerging filmmakers with a musical approach within their medium outside of prevailing stereotypes. Alexander Hacke’s non-compliant approach to the composition of film music has been proven, alongside his long-standing work with Einstürzende Neubauten, by his uncompromising use of unusual sound sources, the consistent abolition of conventional narrative structures, and the eclectic selection and symbiosis of diverse genres in his oeuvre.

The workshop developed by Alexander Hacke is intended to provide a practical introduction to alternative processes of working with sound and music in the cinematic context, and to equip students with knowledge that should extend their horizons in the development and realization of their own projects. He will bring his experiences, collected in three decades, as a film musician, unfolding the most important steps in the development and production of innovative film music, and will deal extensively with topics such as the deconstruction and manipulation of audio material. He will explain the complementary or supporting relationship of image and sound, regardless of commercial considerations and the use of “mock ups” and “temp tracks”, the so-called provisional music. In his seminars, both essential techniques of “spotting” and the dramatic effect of minimal shifts on film music as well as the integration and interaction of music and sound design are demonstrated. Further points are the development of recognizable and connecting elements in the score, the importance of musical references during the writing process of a screenplay, as well as the use of common audio workstations for the processing of sound and music.

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Flaterate:
1800 € (incl. 19% VAT)
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Student Discount: 20 %
Working Language:
englisch
Location:
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Alexander Hacke is a German musician, music producer, composer of film music and actor. He is best known as the guitarist (1980-1994) and bassist (since 1994) of the band Einstürzende Neubauten. Since 1992 Alexander Hacke has also been active as a composer of film music (see below filmography). Together with other composers he also contributed music to the successful film Gegen die Wand (2004) by Fatih Akın . In Akıns documentary film Crossing The Bridge – The Sound of Istanbul (2005) he appeared in front of the camera. As a film composer for Akin’s film The Cut, Alexander Hacke was nominated for the German Film Award 2015.

Filmography as composer (excerpt):
1987: “Nihil – Alle Zeit der Welt„ (DFFB final film by Uli M. Schüppel)
1992: “Die Terroristen”, directed by: Philip Groening (D)
1993: “Prinz in Hölleland”, directed by: Michael Stock (D)
2004 “Gegen die Wand”, directed by: Fatih Akin (D)
2006 “Das Wilde Leben”, directed by: Achim Bornhak (D)
2007 “Fuori Dalle Corde”, awarded in the “Best Music” category
26th Festival International du premiere film in Annonay, France.
Director: Fulvio Bernasconi, (Swiss-Italian co-production)
2008 “Last Cowboy Standing”, directed by Zaida Bergroth (Finland)
2009 “Hinter Kaifeck”, directed by: Esther Gronenborn (Germany)
2010 “Empire Me” wins “Prix du Film Rebell” for the interplay of music and image at the Filmfestival in Aubagne, France. Director: Paul Poet (Ö)
2011 “Generation P” (Russ / USA), directed by Victor Ginzberg
2014 “The Cut”, Alexander is nominated for the German Filmpreis 2015. Director: Fatih Akin (D) 2017 “High And Outside” (USA), directed by Evald Johnson

Forum: Immersive Audio

15/08/2018, 14:00 – 17:00
Eric Horstmann

In this Forum we will deal with the different immersive audio formats available on the market and see where they can be used. Later, we will delve deeper into the technology and production workflows of Dolby Atmos.

„Designed primarily for VR, but also for mobile devices, immersive audio has three parts to it.
The first is channels; home cinemas use a 5.1 system to handle front, left, right, left rear, right rear, and a subwoofer, and immersive audio is based initially on that same framework. The only difference is that now it can mimic an 11.1 or higher array.

The second part of immersive audio is ambisonics.
“Ambisonic signals are scene-based audio elements that describe not individual sources (like channel-based or object-based formats), but rather the sound field as a whole from one point in space,” says Julien Robilliard, product manager at Fraunhofer IIS, which invented the mp3 and AAC codecs.

Immersive sound can be produced using the head-related transfer function (HRTF), where binaural stereo microphones are placed in the ears of a dummy and external sounds recorded to create a ‘head-print’ profile (in the future, we might all get sound personalized to the shape of our head and face).

However, binaural sound is merely clever stereo, and best for headphones. For true 360-degree ‘ambisonic’ audio recordings suited to loudspeakers, microphones capture audio from four different positions.

The third part of immersive audio is audio objects.
An audio object is a mono track accompanied by metadata that specifies the exact position of that sound. “With VR you want to have the sounds that immerse you in the scene that can be reproduced from coming from any direction,” says Robilliard.

Why is immersive audio important?
“The sound in any immersive content experience plays an equally important – and often overlooked – role as the visuals in transporting the viewer into the action,” says Canaan Rubin, Director of Production and Content at VR and AR production company Jaunt.
It uses ambisonic microphones fitted onto the surrounding set to authentically capture sound in the round. “In playback of our 360 content, audio technologies such as Dolby Atmos for VR, DTS Headphone:X, and the recently unveiled new version of Dirac VR all offer exclusive audio formats enhanced by HRTFs (head-related transfer functions) to provide a truly 3D sound experience,” says Rubin.“


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Student Discount: 20 %
Working Language:
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Location:
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Eric Horstmann has been working in postproduction since 2004 and until 2014 worked as mixing sound engineer and technical director in various Berlin postproduction houses. In 2012 he planned and realized the first Dolby Atmos Dubbing Stage and is deeply rooted in immersive workflows. From 2014-2018 he worked as a Pro Audio Product Specialist for Avid and now works as Business Development Manager for Genelec.

Forum: Psychoacoustics

18/08/2019, 10:00 – 13:00
John Groves

The Power of Sound and Music to control our minds

The use of sound and music in an applied sense, such in films or brand communications, has traditionally been steered by intuition, often relying on one persons auditory memory-bank to supply the triggers for creating the desired specific and universal emotions, associations, and perceptions.

The past years have witnessed an increased development of structured systems which have enabled a more efficient and effective application of sound and music. They are currently being used in areas such as Sound Branding, advertising, Receptive Sound Therapy in the healthcare sector, and others. Located at the cross-roads of science and art, this approach has removed a lot of the guesswork involved with music and sound choices and has enabled the creation and validation of more effective and accurate perceptions, improving the chances of sound achieving the intended outcome. The discipline that observes the way sound is perceived and how it effects us is called Psychoacoustics. By better understanding the influence of sound and music on our minds, we will be able to apply it more effectively.

In this forum we examine the phenomena sound and music from a perceptual perspective and observes its effect on our emotions, our memory, and on our health. It demonstrates how sound is capable of exerting psychological power over our thoughts and on our biochemistry, having a profound neurological effects on the nervous system. We will also observe how sonic impulses and vibrations can synchronize brainwaves for effectively relieving stress, promoting sleep and boosting concentration.

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Student Discount: 20 %
Working Language:
englisch
Location:
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John Groves is a composer, music producer and consultant and is considered the pioneer of sound branding. He developed a structured system for creating and implementing brand and corporate sound identities, which forms the basis for today’s market standard. Groves created unforgettable melodies for brands like Olympus, Mentos, Bacardi, Mars and Visa.

 

Special Event: An Evening with…

11/08/2019, 20:00
Eric Wainaina & Guests

MediaSoundHamburg presents one of the most famous Kenyan singer and songwriter: Eric Wainaina.

In addition to his work as a singer/songwriter, he writes music for film and television, among others for the project One Fine Day Films initiated by Tom Tykwer. Eric Wainaina produced the 52-part British-Kenyan children’s TV series Tinga Tinga Tales and also composed the music. The musical Tinga Tinga Tales has been performed on Broadway since last summer. With numberous examples we will gain an insight into his wide-ranging work and can also look forward to further guests.

Location: Elsa Brändström Haus, Hamburg-Blankenese
Moderation: André Feldhaus
Admission: 5 €

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Eric Weineina is already performing of the African Night on 10th August in resonanraum as part of MediaSoundHamburg. His music is an interesting blend of Kenyan Benga rhythms, East African guitars and modern pop music. Since 2001 he has released eight albums. One of his most famous songs is Kenya Only, with which he became a star overnight. After the terrorist attack on the US embassy in Nairobi in 1998 with more than 200 dead, Kenya Only became an unofficial funeral song that was constantly played on radio and tv-stations. The song became very important during the riots at the beginning of 2008.

Special Event: Price-Giving Ceremony Young Talent Award Media Music

14/08/2019, 20:00
Price-Giving Ceremony, Kaiser Quartett

For the 6th time the award ceremony of the Young Talent Award MediaMusic will take place during the MediaSoundHamburg. For this year’s edition, young musicians, composers, game musicians and sound designer had to compose a theme music for Raymond Chandler’s novel Playback.

The Kaiser Quartett will premiere the award-winning compositions of the first three prizewinners, David Kolder (Netherlands), Tharcisio Vaz (Brazil) and Deanna H. Choi (Canada) by the renowned Kaiser Quartett. The programme also includes pieces by Gijs Knol and Rinkie Bartels, who won this year’s Buma Music in Motion Award, and Levente Kovacs, who won this year’s German Game Music Award. All winners will receive a scholarship to MediaSoundHamburg. The Dutch composer and arranger Bob Zimmerman will play his own compositions as a special guest together with the Kaiser Quartett.

The Kaiser Quartett is a contemporary string quartet founded in Hamburg. The founding members are the violinists Adam Zolynski and Jansen Folkers as well as the cellist Martin Bentz. Ingmar Süberkrüb has been violist since 2012. The four musicians, at that time still known as Strings DeLuxe, became known for their music for the animated children’s series Little Amadeus conducted by Martin Bentz. For this production, the quartet developed its own style that combines both the delicate light string sounds and the full orchestral sound. Since then, the Kaiser Quartett has been in great demand as an ensemble for studio productions and live concerts by artists of various styles.

Admission: free
Location: resonanzraum, Feldstraße 66
Moderation: Laura Ehrich

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Forum: Artificial Intelligence for Media Composers

15/08/2019, 19:00 – 22:00
Than van Nispen tot Pannerden

In an age of rapidly evolving artificial intelligence, the domain of (media) music and computational creativity in sound gets more and more attention by the day. With Sony having released Hello World, the world’s first AI music album, alongside Universal Music announcing it will use AI for soundtrack generation, and AIVA being hailed as the first virtual artist being recognised by French author’s rights society SACEM, these are undeniably interesting times! How will automated emotion tracking of films change our temp tracks and soundtracks? What new possibilities does AI-generated music in video games offer? And what are the main challenges generated by soundscapes produced by object recognition?

We invite you to participate in this forum where all these questions will be explored alongside a hands-on introduction to Artificial Intelligence and Machine Learning. No coding skills or AI-knowledge are required! We’ll be covering state-of-the-art Machine Intelligence in the context of music, sound, media and performances, offering hands-on experience with AI-tools, and looking at the history of AI-activities, as well as recent developments in the music, sound and media sphere. Participants are invited to bring a webcam to use as an input for the AI. You can also bring a midi-controller, a microphone, or any of the items on this list.

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Student Discount:
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Working Language:
englisch
Location:
Elsa Brändström Haus, Hamburg-Blankenese

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Than van Nispen tot Pannerden is a Dutch composer, lecturer and researcher at HKU University of the Arts Utrecht. He has a master of science degree in Biology at Utrecht University (2002), as well as a European Media Masters of Arts with honours degree in Composition for the Media at HKU Univer-sity of the Arts Utrecht (2009) and a Master of Music at the University of the Arts Utrecht (2016). He is a board member of MiMM, the Dutch Music Institute MultiMedia and co-founder of DutchGameMusic. Than’s contributions to the domain of interactive music can be found in several video- and art-games, concerts, as well as interactive (art) installations for museums, theatre and the public domain. Some of his recent work includes Karmaflow: The Rock opera Videogame and live concert (including audience interactive participation) with Metropole Orchestra. Than has lectured and given workshops since 2004 at, among others, HKU, the Utrecht University, Sound Education, EsArt (Portugal), Guangzhou Academy of Fine Arts (China), MediaSoundHamburg (Germany).

Programm Frustration Stephan Eicke

Forum: Film Music – Conflicts and Frustrations

Stephan Eicke
16/08/2019, 10 – 17 Uhr

This Forum is aimed at all people who are active as musicians with an interest in film music who either want to learn about the craft of film scoring or who want to actively pursue a career as composers in the media.

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Forum: Music and Sound Design in Commercials

17.08.2019 14 – 17 Uhr
Norbert Vander, Stephan Konken

The role of music and sound design in commercials is becoming increasingly important. Norbert Vander, internationally acclaimed advertising film director and author, and studio operator Stephan Konken (KONKEN STUDIOS / Hamburg) explain the function of music and sound design in advertising in this forum.

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Flaterate PLUS: 2500 € (incl. 19% VAT)
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Student Discount: 20 %
Working Language: englisch
Location: Elsa Brändström Haus, Hamburg-Blankenese

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Norbert Vander (BVR) is one of the most renowned German commercial film directors. His clients include Audi, Porsche, Bugatti and Volkswagen.
He also directed the commercial “Volvo V90 – Made by Sweden feat. Zlatan Ibrahimović (Prologue & Epilogue)”.
Stephan Konken is the owner of KONKEN STUDIOS in Hamburg and has set over 200 productions for film, TV and commercials to music since 1988.

Forum: Your Music in Film, TV & other Media

12/08/2019 10:00 – 17:00
Martin Häne, Panos Kolias

Many composers and musicians wish to write music for feature films or have success as a performing artist. It is common knowledge that this is a big and long term goal. The music licensing market can support you financially and even promotionally while working towards that goal. Read more