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.

Tuition Fee: 50 € (incl. 19 % VAT) or
Forum Flaterate: 150 € (incl. VAT) for any numbers of forums or
Flaterate:
1800 € (incl. 19% VAT)
for any of master classes, workshops, forums and special eventsexcl. MasterClass Sound Design with Randy Thom
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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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.“


Tuition Fee: 50 € (incl. 19 % VAT) or
Forum Flaterate: 150 € (incl. VAT) for any numbers of forums or
Flaterate:
1800 € (incl. 19% VAT)
for any of master classes, workshops, forums and special eventsexcl. MasterClass Sound Design with Randy Thom
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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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.

Tuition Fee: 50 € (incl. 19 % VAT) or
Forum Flaterate: 150 € (incl. VAT) for any numbers of forums or
Flaterate:
1800 € (incl. 19% VAT)
for any of master classes, workshops, forums and special eventsexcl. MasterClass Sound Design with Randy Thom
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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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.

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.

Tuition Fee: 50 € (incl. 19 % VAT) or
Forum Flaterate: 150 € (incl. VAT for any numbers of forums or
Flaterate: 1800 € (incl. 19% VAT)
for any of master classes, workshops, forums and special events excl. MasterClass Sound Design with Randy Thom or
Flaterate PLUS: 2500 € (incl. 19% VAT)
for any of master classes, workshops, forums and special events incl. MasterClass Sound Design with Randy Thom
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

Studio1 Elias lacht

Workshop: Pro Tools

Don‘ t be afraid of software!

12/08/ 2019, 10:00 – 17:00
Elias Struck

It may be clicked around unrestrained! The focus of the workshop for beginners and advanced users is on the practical application of Pro Tools. Participants get an overview of the Pro Tools file structure, menu navigation, navigation between different windows, views and timelines, managing the setup for different application areas, sessions and tracks, signal routing (busses, groups, sends), basic editing, basic automation, plug-ins and basics of mixing.

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MasterClass GameMusic

09/08 – 11/08/2019, 14:00 – 22:00/10:00 – 17:00
John Broomhall, Alastair Lindsay & Guests

In association with Game Music Connect

This Masterclass is aimed to composers, producers, students, musicians and everyone else who is interested in creating interactive music for video games and the business behind it. In advance of the class the participants will receive a briefing on a game and they have to create/score their own music. The results will be discussed at the last day of the MasterClass. This year’s Game Music masterclass, in association with Game Music Connect, will be led by game audio specialist, commentator and composer/musician John Broomhall and CORD Worldwide’s Head Of Audio (and formerly of Sony PlayStation) Alastair Lindsay, who between them share an expansive and wide-ranging wealth of experience and knowledge of the creative, technical and business issues around creating music for videogames. Over many years, both have written for, produced, commissioned and directed numerous videogame music projects from small indie titles to massive AAA blockbusters, gaining a first-hand view of the business from many angles. Lindsay has also worked extensively on PlayStation VR projects, his team at Sony pioneering the use and exploring the meaning of music in virtual reality experiences. Meanwhile, Game Music Connect co-founder Broomhall is currently writing music for Phoenix Point reprising his collaboration with game auteur Julian Gollop of XCOM fame. In a series of interlocking sessions, John Broomhall and Alastair Lindsay will discuss key factors for successfully making music for games as well as introducing an A-list special guest or two via videocall en route. Attached please find the homework for this year’s masterclass.

Tuition Fee: 1200 € (incl. 19 % VAT) or
FlateratePLUS: 2500 € (incl. 19% VAT)
for any of master classes, workshops, forums and special events, incl. MasterClass Sound Design with Randy Thom
Flaterate:
1800 € (incl. 19% VAT)
for any of master classes, workshops, forums and special events, excl. MasterClass Sound Design with Randy Thom
Student Discount: 20 %
Working Language: englisch
Location: Elsa Brändström Haus, Hamburg-Blankenese

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John Broomhall is the co-founder and host of Game Music Connect, half of EDM music artist String Theory (Modularity) and the composer for such iconic games as Transport Tycoon and X-COM/UFO: Enemy Unknown. A multi-faceted independent creative with many years’ experience in music and videogames, he previously held a number of senior in- house and outsourced management roles (including European Head Of Audio and Game Development Manager), and has dozens of published titles to his credit as composer/producer, audio director/consultant, sound designer and voice director. He’s written dozens of articles about game music and sound, and chaired numerous awards juries for Bafta. He curates and hosts the Develop Conference Audio Day in Brighton and has been a keynote speaker for AES. He received a Recognition Award from the Game Audio Network Guild of America and has spoken at London’s School Of Sound, Bilbao’s BIME PRO, The Sound of Story @Rewire and the Lithuanian Academy Of Music & Theatre. Current music writing projects include Phoenix Point, renewing his collaboration with original Xcom auteur Julian Gollop. Beyond games, he spends as much time as possible playing jazz keyboards.

Alastair Lindsay is Head of Audio at CORD Worldwide and before that headed up the audio team at Sony Interactive Entertainment Europe. He has a passion for interactive audio, modular synths and anything that makes sound in interesting and creative ways. Originally learning his craft in the mid 1980’s on the BBC Micro and Music 500 system, his rst game score for Tempest 2K picked up a CES award. Since then he’s enjoyed a 25 year career in videogames as Sound Designer, Composer, Audio Director and senior executive in charge of music productions for all internal and many external Sony game and VR titles – from initial brief to final release, both game and soundtrack. As such he has a rich experience of organising and in-game implementation of interactive orchestral music. Latterly at Sony he was also responsible for Music Licensing, Sound Design and Audio Programming. His extensive credits include: The Getaway, Eye Toy, SingStar, Gran Turismo, WipEout, Little Big Planet, Wonderbook, VR Worlds, RIGS and Horizon Zero Dawn.

Forum: Kelosound – Sounds from Nature

15/08/2019, 14:00 – 17:00
Kirsi Ihalainen

The sound of the northern lights – rare sounds of wild animals and the atmosphere of magical Lapland with accompanying mythological stories from the north. KELOSOUND is a new soundart- and design-product that plays the sounds from the Finnish north. It is a huggable and sounding wood, designed and created by sound artist Kirsi Ihalainen. Kelowood is the Finnish term for dead and naturally dried wood.
Kirsi has developed KELOSOUND, a tactile and sounding piece of wood that can be controlled with a mobile phone. Man should find the connection to nature again in order to relax and to recognize how important nature, the forests and their animals are. The artist herself has recorded the unique sound landscapes on her sound adventures through Finland, trotting through snow and hail, surrounded by roaring bears and other wild animals.

In the forum the participants inside experience, how they can catch the noises of birds and wild animals. The equipment for the recording of natural sounds will also be presented and tried out.

Tuition Fee: 50 € (incl. 19 % VAT) or
Forum Flaterate: 150 € (incl. VAT for any numbers of forums or
Flaterate: 1800 € (incl. 19% VAT) for any of master classes, workshops, forums and special events excl. MasterClass Sound Design with Randy Thom
Flaterate PLUS: 2.500 € (incl. 19% VAT) for any of master classes, workshops, forums and special events incl. MasterClass Sound Design with Randy Thom
Student Discount: 20 %
Working Language: englisch
Location: Elsa Brändström Haus, Hamburg-Blankenese

Get Tickets

Finnish sound artist Kirsi Ihalainen creates sound installations, music and sounds for games and films. Kirsi has successfully exhibited her sound installation “Finnish Forest Frequencies” in Finland, the USA, Iceland and Japan.