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ATMM 2012 is hosted by the Department of Communication and Design (COMD), Bilkent University.
ATMM 2012 Steering Committee
• Ufuk Önen (Bilkent University)
• Teoman Pasinlioğlu (Independent Researcher)
• Mustafa Ertan (InterElektro)
• Ahmet Gürata (Bilkent University)
• Özlem Ömür (Ankara University)
• Bülent Bıyıkoğlu (KV331 Audio)
• Kürşat Pasinlioğlu (Voispectra)
ATMM 2012 Steering Committee Assistants
• Miraç Atıcı (Ankara University)
• Giray Bayer (Bilkent University)
• Uğur Satılmış (Bilkent University)
Bobby Owsinski
The keynote speech of ATMM 2012 will be delivered by longtime music industry veteran Bobby Owsinski.
One of the first to delve into surround sound music mixing, Mr. Owsinski has worked over a hundred
surround projects and DVD productions for such diverse superstar acts as Elvis Presley, Jimi Hendrix,
The Who, Willie Nelson, Neil Young, The Ramones, and Chicago among many others.
Mr. Owsinski has taught various disciplines of audio recording and multimedia production, and has
been a guest lecturer at numerous colleges and universities.
Mr. Owsinski has authored 16 books on recording, music and the music business that are now staples
in media programs in colleges around the world.
ATMM 2012 Review Board
• Teoman Pasinlioğlu (Independent Researcher)
• Mahcem Öztürk (Müziktek)
• Server Acim (İnönü University)
• Arda Eden (İnönü University)
• Pieter Verstraete (University of Exeter & Sabancı University)
• Kürşat Pasinlioğlu (Voispectra)
• Ersan Ocak (Bilkent University)
• Bülent Bıyıkoğlu (KV331 Audio)
Keynote Speaker: Bobby Owsinski
‘Melbourne, a City Symphony’ - Sound Design & The Locative Artwork
Gerald Mair (RMIT University, Melbourne)
Presentation language: English (Session A, Thursday)
Over the last ten years locative arts practice has sought to re-define how audiences interact with media.
In this paper I discuss my current research project – ‘Melbourne, a City Symphony’, alocative sound
workbeing undertaken as part of my practice-led research doctorate. The project has been inspired
by the experimental documentaries made in the 1920’s that came to be known as ‘city symphonies’.
My project references this experimental form and seeks to adapt and update it to create a location
based experimental sound work. I discuss the relevance to the city symphony genre and explore the
challenges of considering geographical space as a metaphoric cinema screen.
Dream(y) Soundscapes
Buğra Karabey (Microsoft)
Presentation language: English (Session A, Thursday)
Brainwaves have been utilized within numerous musical works. However brain’s activity during the
period of dreaming constitutes a special case within which certain wave types are predominant and
the overall brain wave patterns differ from the norm. Also mankind has always wanted to achieve the
ways and means to relive/remember their dreams. Within Dream(y) Soundscapes we have endeavored
to devise an artistic framework, which will enable us to revisit and have a recollection (recording) of our
dreams in the form of a soundscape that will help us to live again the same sensations entailed within
those dreams in a musical form.
Aşure Project
Mehmet Can Özer (Hacettepe University)
Presentation language: English (Session A, Thursday)
“Aşure” (pronounced as Ishuré) is a real time improvisational environment . The project has different
aspects in order to explore, to make research and all of them are connected with various fields such
as composition, improvisation, software and hardware development, ethnomusicology, sociology,
interaction between human and computer and the most important cultural exchange.
Nowadays, we are facing with difficulties as far as international relations are concerned. Lack of
communication and understanding we can only fight with “the other”. Consequently we are keeping
discriminating people. I am considering Western and Eastern Cultures as one and inseparable. During
my research I learnt that, even geographically distant cultures may share the same things as well as
variations of the original. Those things are called as “cultural entity”.
This interdisciplinary project is going to be focused on mainly music and all the research and
development process will follow the guidance of musical aims.
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MIDI Piyano Eşliklerinin Keman Eğitiminde Kullanılmasına Yönelik Örnek Uygulama Çalışması
Ali Delikara (Niğde Üniversitesi)
Presentation language: Turkish (Session B, Thursday)
MIDI uygulamaları, ortak bir müziksel iletişim protokolü halini aldığı 1983 yılından günümüze değin pek
çok amatör ve profosyonel müzisyen tarafından çeşitli amaçlar için farklı alanlarda kullanılmaktadır.
Ancak müzik eğitimde etkin bir araç olarak kullanılabilirliği göz ardı edilmiştir. Yapılan çalışmalar
enstrüman öğreniminde eşlikli çalışmanın birçok açıdan öğrenmeye olumlu etkide bulunduğunu açıkça
göstermektedir. Araştırmaya konu olan midi eşliklerinin çalgı (keman) eğitiminde kullanılmasına yönelik
olarak yapılacak örnek çalışmayla, müzik eğitimi sürecinde klasik (geleneksel) eğitim yöntemlerinin
yanı sıra, teknoloji destekli eğitimin, özellikle eşlikli çalışma konusunda eğitimcilere ve öğrencilere farklı
bakış açıları kazandırması ve ülkemiz müzik eğitimine bu yolla katkı sağlanması hedeflenmektedir.
Abstract (English):
An Examplary Application Practise For the Utilization of MIDI Piano Accompaniments in Violin
Education
MIDI applications have been used by many amateur and professional musicians for various purposes
in differrent fields since it became a common musical communication protocol in 1983. However, it’s
utility in music education as a forceful means has been undervalued. Research has clearly pointed out
that in instrumental instruction, practising with accompanimet effects learning positively from many
aspects. In this sample study for the usage of the research-involved MIDI accompaniments in violin
education, it is expected that tecnologically supported education would bring different perspectives
to instructors and students especially about practising with accompaniment, together with traditional
education methods in the music education process, and aimed to contribute our countries music
education by this means.
Open Sound Control (OSC) Protokolü: Yapısı ve Özellikleri
Arda Eden (İnönü University)
Presentation language: Turkish (Session B, Thursday)
Elektronik müzik aletlerinin eşgüdümlü olarak çalışması fikri ilk analog ses sentezleyicilerin ortaya
çıktığı dönemlere kadar uzanır. İlk sentezleyiciler notaların, filtrelerin ve sentezleyici üzerindeki diğer
bileşenlere ait parametrelerin elektriksel voltaj değerleri ile ifade edildiği, voltage control olarak bir
yöntem ile haberleşmekteydiler. 80’lerin ortasına doğru sayısal sentezleyicilerin ortaya çıkışı ile
birlikte yeni iletişim yöntemlerinin geliştirilmesi kaçınılmaz hale gelmiştir. Bu dönemde ortaya çıkan
MIDI, günümüze kadar varlığını sürdüren en yaygın haberleşme protokolü olmuştur. Bugün, bilgisayar
teknolojisi ve elektronikteki gelişmelerin ışığında ortaya çıkan insan-makine etkileşimine yönelik
yeni arayüzler, elektronik müzik uygulamalarında da kullanım alanı bulmaktadır. Open Sound Control
(OSC), bu yeni arayüzler ve ses sentezleyiciler arasında haberleşmeyi sağlamak amacıyla 90’lı yılların
ortasında geliştirilmiş esnek yapılı bir protokol, bir içerik biçimidir.
Abstract (English)
The idea of cooperation of electronic musical instruments dates back to the days, when the first analog
synthesizers appeared. The first synthesizers communicated in a way, called voltage control, where
the notes and all the parameters of the filters and other components of synthesizers are represented
as electrical voltages. Through the mid 80’s, with the emerge of digital synthesizers, development of
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new communication techniques became inevitable. MIDI, which first appeared in this era, has become
the most widespread communication protocol and still being used today. The new interfaces based on
human-machine interaction, which emerged in the light of the developments in computer technology
and electronics, are used in today’s electronic music. Open Sound Control (OSC) is a flexible protocol,
a content format which is developed in the mid 90’s for communication between these interfaces and
sound synthesizers.
GNU/Solfege Yazılımının Temel Müzik Teorisi Eğitimde Kullanılması Üzerine
Server Acim (İnönü University)
Presentation language: Turkish (Session B, Thursday)
GNU/Solfege yazılımı, müzik eğitiminin temel öğesi olan {Müzik Teorisi} alanında eğitim alan kişilere
yönelik olarak hazırlanmış olan Açık Kaynak Kodlu bir Özgür Yazılımdır. Bu yazılımın bir Linux
dağıtımına kurulumu ve kullanılması ilk anda çok da kolay gözükmemektedir. Ancak, bu çalışmada bu
yazılımın kurulumu ve kullanımı çeşitli adımlar içinde açıklanacak, uygulamanın çeşitli boyutları teorik
ve uygulamalı olarak tanıtılacaktır. Bu çalışmanın amacı, temel müzik eğitiminde bilgisayarın Solfej
eğitimine katkısını çeşitli boyutlarda sorgulamak olacaktır.
Abstract (English)
GNU/Solfege software is a free software which is prepared for music students. Usage of an Linux
operation system is not always easy for beginners. In this short paper, the usage of this software will be
explained with usage examples. This software gives to teachers to compose their own dictation pieces.
These pieces can be composed by using GNU/LilyPond typsetting system and can be integrated within
the GNU/Solfege software. The goal of this paper is to make a quest about the possibility of using this
sofware in a music education class. After the papes presentation, the lecturer will give more detailed
examples about GNU/Solfege - Ear Training and Theory Learning Software.
Müziğin Siyasal İletişim Aracı Olarak Kullanımı: Türkiye’de 24. Dönem Milletvekili Genel Seçimi
Veysel Çakmak (Aksaray University)
Presentation language: Turkish (Session C, Thursday)
Siyasal iletişim siyasi partilerin seçmenleri etkilemek amacıyla hedef kitleye yaptığı uygulamalardır.
Başlangıçta sadece mesaj olarak algılanan siyasal iletişim son yıllarda yerini büyük stratejilere ve
kampanyalara bırakmıştır. Partilerin rekabet içerisinde olduğu iktidar yarışında halkın ilgisini çekmek
ve güvenini kazanmak için etkili bir seçim kampanyası yapmak zorundadır. Müzik de siyasal iletişim de
kullanılan en önemli kitle iletişim aracıdır.
Bu çalışmada müziğin siyasal iletişim aracı olarak kullanılması incelenmektedir. Bu doğrultuda 24.
dönem milletvekili genel seçimi ele alınarak, siyasi partilerin genel özellikleri, daha önceki seçimlerde
sahip olduğu seçmen kitlesi ve seçim kampanyalarında kullandığı müzik incelenmektedir.
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Abstract (English)
Use of Music as an Instrument of Political Communication: The 24th Period General Election of
Representatives in Turkey
Political communication is the application performed to the target group by political parties with the
purpose of influencing the voters. Although at the beginning political communication was perceived as
only a message; in recent years it has given way to great strategies and campaigns. An effective election
campaign must be performed to get the public attention and to gain the confidence of the people while
parties are competing for power. Music is also one of the most important mass communication tools
used in political communication.
In this study; the use of music as an instrument of political communication has been examined.
Therefore, general characteristics of political parties,its constituency in previous elections and the
music used during election campaigns have been examined by considering the 24th period general
election of representatives.
Gelenekten Geleceğe; Bir Perküsyonistin Ses Teknolojileri Üzerine Performans Söyleşisi
Gerçek Dorman (Özdem Müzik)
Presentation language: Turkish (Session C, Thursday)
Yeni çağın perküsyonist ve davulcu tanımı, sahnelerde akustik enstrümanların yanı sıra elektronik
davulların ve perküsyonların da yerlerini almasıyla değişti. Günümüzün hızla gelişen teknolojileri
sayesinde artık perküsyonistler ve davulcular istedikleri sesleri sanal bir ortamda istedikleri
şekilde yaratabiliyorlar, bu yarattıkları sesleri sahnede kullanarak üzerlerine canlı performanslarını
sergileyebiliyor ve tek kişilik dev orkestralar haline gelebiliyorlar. Bir konser sırasında perküsyon ve
davul soundları bu teknolojiler sayesinde dilediğimiz şekilde bir parçadan diğer parçaya değişiklikler
gösterebiliyor, farklı sentezler yapılabiliyor. Müzik eğitimlerinde de bilgisayar ile elektronik perküsyon
ve davullar kullanmak eğitmenlerin ve öğrencilerin işini kolaylaştırıyor. Aynı zamanda plak şirketlerinin
ve prodüktörlerin dışında müzisyenler kendilerini videoları ve müzikleri ile insanlara tanıtabiliyor,
sayısı milyonlara varan hayran kitlelerine ulaşabiliyorlar. Sosyal ağlar sayesinde sayısız iş imkanına
ulaşabiliyor ve evlerinden çıkmadan müzik yaparak para kazanabiliyorlar.
Abstract (English)
The definition of percussionist and drummer of the New Age has changed with using electronic drums
and percussions along the acoustic instruments. Because of the fast development of nowadays’
technology, musicians can create their own sound in virtual environment and use these for playing
live on these on stages and becomes giant orchestra as a one-man. During a performance, sounds
can change from one song to another as musician wishes and creates synthesis. Using electronic
instruments together with computers in educations makes work easier for both educators and
students. Meanwhile musicians can have billions of fans with their videos and musics without any help
of recording labels and productors. By using social networks, musicians can earn money and find jobs
in their homestudios.
Miks: Sadece Teknik Bir Zanaat mı, Yoksa Bir Sanat mı?
İlter Kalkancı (Modern Müzik Akademisi)
Presentation language: Turkish (Session C, Thursday)
Çoğunlukla müzikle içiçe olan kişilerce bile “teknik bir aşama” olarak görülen, fakat teknik kısmı
kolayca öğretilebilmesine rağmen insan duygularını ateşleyici, insan hayalgücünü yeni, belki de hiç
görülmemiş yerlere taşıyabilecek işitsel illüzyonu yaratan miks, “miks mühendisliği” kavramı ve bu
konuda günümüzde ülkemizde görülen eksiklikler, ve bu eksiklikleri gidermek için çözüm önerileri
sunulmaktadır.
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Abstract (English)
Although mostly regarded as ‘a technical stage in music production’ by many, the mixing can help
stimulate human emotions, take our imagination to new places, or simply place the music into its
proper context and ambiance. Even though the technical aspects of music mixing can easily be taught,
there are only a handful of mixing engineers in Turkey. This paper underlines the importance of mixing
and tries to find a way to change the status of this underestimated form of art.
Defining the Digital: The Association Between Visual and Aural Languages in Contemporary Culture
Funda Şenova Tunalı (Bilkent University)
Presentation language: English (Session D, Thursday)
The paper explores the emerging patterns in visual and aural languages inherent in contemporary
culture, namely the digital culture. These languages, where meaningful content is generated and
communicated through, are constructed within the culture and shape the same culture via technological,
communicational, sociopolitical, and socioeconomic factors. The illustration of the patterns suggest that
these two domains -visual culture and aural culture- function through similar set of rules, conventions,
behaviors and factors that manifest the operational logic of digital culture.
Using Multimedia Intelligent Tutoring Systems in Educational Approaches: More Emphasis on Audio
Implications
Zeinab Abbasi Khalifehlou (Islamic Azad University) & Farhad Soleimanian Gharehchopogh (Hacettepe
University)
Presentation language: English (Session D, Thursday)
Nowadays, Information Technology (IT) is becoming increasingly complicated and it gains more dynamic
approaches. Multimedia Intelligent Tutoring Systems (MITSs) are intelligent programs which know
what, how and whom they will teach so computers play a significant role in educational applications
such as in instruction and education/e-learning systems. In this paper, not only MITSs are taken into
account, but also, the paper is presented and reviewed MITS and Audio for Intelligent Tutoring Systems
(ITSs) in educational approaches. As a result, the MITSs and Audio Intelligent Tutoring Systems (AITSs)
with artificial intelligence (AI) techniques encourage the students and teachers to cooperation together
in a better manner in virtual environments.
The Role Of Sound And Music in Film And Computer Games: An Experimental Demonstration of How
Two Different Studies of Sound and Music Production Can Change The Spirit Of A Short Film.
Tolga Tem (Sebit)
Presentation language: English (Session D, Thursday)
Segmented Filtering Approach in Audio Mastering Applications
Kürşat Pasinlioğlu (Voispectra)
Presentation language: English (Session H, Friday)
Loudness war being a de facto concern in today’s music industry requires much demanding equalization
techniques during mastering phase. Aiming increased loudness levels means applying over-compression
and hyper-limiting to the recordings which also bring some side-effects on the tonal balance of the audio
material. In other words, spectral balancing applied by equalization is needed, and it is the key step of
mastering in order to obtain an acceptable sound to the listener that attains an optimized tune for almost
any media. In most cases applying a static equalization for a track may not be adequate to handle the unique
needs of tonal balancing for different sections of the recording, and therefore specific filtering settings
become necessary for the related segments of the track.
Microphone Techniques for Bağlama Recording
Abdurrahman Tarikci (Çankırı Karatekin University)
Presentation language: English (Session H, Friday)
Bağlama can be thought as the main instrument of the Anatolian traditional folk music. Therefore, it
has a wide use in music production. However, because the subject of music technology is originated
and developed in western countries, researches on traditional musics of Turkey are not seen very often.
In fact, this is valid for researches on bağlama miking in both live and recording sessions.
In this work, microphone techniques for bağlama, which are mainly used in professional industry, will
be discussed. In addition, since bağlama family has different tones and forms, form and tone associated
techniques will also be presented.
Wavelet Transform As A Popular Signal Analysis Approach And Common Applications
Teoman Ş. Pasinlioğlu (Independent Researcher)
Presentation language: English (Session H, Friday)
One of the recent developments in the signal analysis and processing area is the emerge of the
Wavelet Transform technique as a powerful time–frequency analysis and signal coding tool. It has
major advantages compared to the classical tools like Fourier Transform, that allows a variable time
and frequency resolution to better analyse signals. In this article, a brief theoretical discussion of the
Wavelet Transform will be given together with its advantages compared to classical approaches and
some recent applications will be discussed in detail.
“Films are fifty percent visual and fifty percent sound. Sometimes sound even overplays the visual”
says the famous director David Lynch. Without sound, it is not easy to express the feelings in a film
unless silence is purposely used for a certain need of expression. In real life, our visual perception
works together with our auditory perception - this is how we experience the world. When recreating an
environment in a film or computer game, we have a choice of using sound in a familiar way for more
realism or in a delusive way to affect feelings.
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Müzik Teknolojisi Lisans Eğitiminde Türkiyede İlk Kurum Dokuz Eylül Üniversitesi Müzik Teknolojisi
Anabilimdalı’nda Eğitim Teknikleri Ve Uygulanan Program
Cihan Işıkhan (Dokuz Eylül Üniversitesi)
Presentation language: Turkish (Session G, Friday)
Müzik teknolojisi, içeriğinde mühendislik ve müzik sanatını barındıran çok fonksiyonlu bir disiplindir. Bu
disiplinin lisans düzeyindeki eğitimi ise 1970’li yıllarda Almanya, İngiltere ve Birleşik Devletler’de başlar
ve dünyaya yayılır. Disiplinin ülkemizdeki eğitim süreci ise 1991 Eylül ayında Dokuz Eylül Üniversitesi
Müzik Teknolojisi Anabilimdalı’nda (MTA) başlar ve kurum, müzik teknolojisi alanında ülkemizde ilk
lisans derecesi veren yapıya dönüştürülür.
Bu çalışmada MTA’nın kuruluş süreci, şimdiye kadar geçen süreçteki dersler ve içerikleri ile giriş
yetenek sınavları tartışılacak, müzik teknolojisi lisans eğitiminde ilk kurum olma özelliği taşıyan
MTA’nın eğitim programı anlatılacaktır.
Abstract (English)
Music technology with its structure that containsbothengineering andmusic has been the multifunctional discipline for a long time. While, in 1970s, music technology education becomes most
popular preference for some country such as England, Germany, United States etc., in Septemberof
1991,a newdepartmenthas been established in Dokuz Eylul University namedDepartment ofMusic
Technology, yet. However, this department is the first school for bachelor’s degree of music technology
in Turkey. This paper includes education techniques and applied/modified programs of department
since its inception.
Yeni Bir Okuma Medyası Olarak Türkçe Sesli Kitaplar
Ayçin Ergin, Yetkin Yağmur & Mehmet Atay (NB/Sesle Kitap)
Presentation language: Turkish (Session G, Friday)
Görme engelli olmayanlar için profesyonel sesli kitap (audio-book) üretilmesi konusunda dünyadaki
ve ülkemizdeki çalışmalar ile sesli kitapların stüdyo ortamında kaydedilmesi, tür ve dönemlere uygun
olarak müzik ve efekt unsurlarıyla zenginleştirilmesi ve tam bir prodüksiyon olarak gerek kaydedilmiş
medya (CD vb.), gerekse internet üzerinden indirilebilir şekilde sunumu ve teşvik edilmesi bildirimizin
konusunu oluşturacaktır.
Abstract (English)
First audio books came out to be only of interest to the visually impaired and elderly. But that is no
longer the case…
With the hectic life styles that last century brought about; having no time to read became an excuse.
Now that we can listen to them anytime and anywhere we want, we don’t need to have spare time for
books, especially with the help of our portable devices. What is more, audio-books nourish imagination,
help improve comprehension skills and teach proper pronunciation of words thus, improving effective
communication. That’s the need Sesle Kitap was born out of. And that’s why it has a rapidly growing
number of audio-books at your service.”
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Of course, designing a sound or composing music are individual arts, but when we talk about “Film
or Game Audio” there is another artistic dimension and area of profession that we must be aware of:
“Music Production and Sound Design for Visual Media”. Accompanying this paper is a film that has
had its sound work reproduced in two different ways, which will demonstrate how sound affects the
visuals. More explanations about the related scenes of these movies can be found in this paper and the
movies can be downloaded from the following link: tolgatem.com/film/taxi.htm
Watching the Sound: Tango and its Mediation through the European Cinema
Eirini Papadaki (Technological Educational Institute of Epirus)
Presentation language: English (Session E, Thursday)
Bourdieu would argue that the tango is “in a process of legitimation,” meaning it has dramatically
changed from a forbidden dance of the poor to music fit for scholarly treatises. My argument will be
that this legitimation began to take place after the tango started to be mediated through the cinema.
From the moment the tango’s audiences extended from the lower Argentinean classes of cabaretgoers to the higher European status groups of cinema-viewers there seems to be a change of the
way the tango was viewed. Fernando Solanas’ films Tangos: El exilio de Gardel (1983) and Sur (1988)
had probably a lot to do with tango’s legitimation process. Through these films the audience is reintroduced to the tango or is introduced to a new, different tango. This is not the tango of passion or
seduction, as seen in Last Tango in Paris—but rather a tango of characteristically Argentinean identity,
a traditional music, a cultural resource.
Contested Spaces of Acoustic Community in Post-Migrant Theatre
Pieter Verstraete (University of Exeter & Sabancı University)
Presentation language: English (Session E, Thursday)
A new trend of post-migrant theatre in Europe necessitates that the discursive space of aurality is
to be understood on historical and social terms. As these community-based performances not only
target audiences of post-migrant descent but equally reach a hybrid of ‘first-nation’ listeners in Europe
and sometimes in Turkey through circuits of Theatre and Opera Festivals, we need to be able to
encompass the complexity of perceptual and cultural tensions that are at work in these performances
in representing interconnected communities, hybrid identities and changing socialities. Therefore, I
propose a more historically and socially sensitive scope on the notion of community, which lays bare
the cultural transactions and disjunctures that propel aurality today. By critically rereading Nancy’s
‘inoperative community’, Agamben’s ‘the coming community’ and Blanchot’s ‘unavowable community’
against Shafer’s notion of the ‘acoustic community’, I aim to conceptualise how mixed audiences
are much-contested sites of tension between listening cultures shaping the individual against the
hegemony of norms, tastes and prejudices that surround formative definitions of community.
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Three Technological Revolutions That Radically Altered Music As an Entity, From a Musicological
Perspective
Fulya Çelikel (Sabancı University)
Presentation language: English (Session E, Thursday)
Ses Teknolojisi Kapsamında 90’lar Sonrası Türkiye’de Yayıncılık Sektörü ve Yayıncılıkta Mikrofon
Tercihi Üzerine Bir Araştırma
Cihan Işıkhan (Dokuz Eylül Üniversitesi)
Presentation language: Turkish (Session F, Thursday)
This paper will aim at presenting the three technological revolutions that radically altered music as
an entity, from a musicological perspective. These key events: the invention of music printing press
in 1500’s, the onset of recording technology in late 1800’s and the computerization of composition,
performance and publishing in 1980’s will be approached by a Marxist theoretical framework and will
be evaluated according to their impact on music as a commodity. The outcome of the paper is also
formulated thus.
Radyo-TV yayıncılığının ülkemizdeki kurumsal serüveni herkesin bildiği gibi TRT ile başlar ve 1990
sonrası özel kuruluşların devreye girmesiyle farklı bir boyut alır. Sürecin teknolojik boyutu da bu
tarihten itibaren köklü değişimlere uğrar. Hantal donanımların yerini yazılımlar alırken, doğrudan
sinyal yerine üzerinde veri taşıyan bağlantılar devreye girer. Bu köklü değişimin gerçek nedeni ise tek
bir cümleyle özetlenebilir: Analogdan dijitale geçiş…
AD/DA Çeviriciler ve DAW’lar (Digital Audio Workstation) Hakkında Genel Bilgi ve Endüstriye Etkileri
Erkan Tatoğlu (MK2 Productions)
Presentation language: Turkish (Session F, Thursday)
70’lerin ortalarında, günümüzde kullanılan çevirici özelliklerine yakın kalitede AD/DA çeviricilerin
stüdyolara girmeye başlamasıyla birlikte ses ve görüntü sektöründe büyük ve geri dönülmez değişim
başlamış oldu. Bu cihazların kullanım alanları, dijital ses kalitesini etkileyen unsurlar, DAW’lar, ve genel
olarak endüstrideki dijital ses kayıt ve işleme unsurları avantaj ve dezavantajlarıyla anlatılacaktır.
Abstract (English)
Radio-TV broadcasting is one of the most important industries all over the world. Although national
broadcasting in Turkey is known to be started by TRT, the beginning of broadcasting milestone, especially
after established private organization, is in the 1990s. Especially after 1990, technological changes in
broadcasting such as software that replaced with bulky equipment, connections that transports data
without raw signal etc. reflect to sound technology on broadcast. However, the main subject of this
change is the transition digital from analog.
Stüdyo Kontrol ve Kayıt Odası Akustiği: Bir Akustik Düzenleme Uygulaması
Suat Vergili (Dokuz Eylül Üniversitesi)
Presentation language: Turkish (Session F, Thursday)
In this study, one hand, how to be the revolutionized period of broadcasting in Turkey will be discussed
and the dynamics ofaudio technologyare examined as an academic person from broadcast sound
technology. On the other hand, some results of a survey about microphones used in broadcast will be
discussed.
Dinleme odaları, stüdyo kontrol ve kayıt odaları küçük oda akustiğinin bir parçası ve başlı başına bir
çalışma alanıdır. Dinleme yapılan odanın akustik özellikleri yerleştirilen sistemin ve yapılan dinlemenin
kanal sayısına göre de değişmektedir. Stüdyo kontrol odaları ağırlıklı olarak 2 kanal (stereo) dinleme
yapılan odalardır. Bu odaların akustik özellikleri doğrudan ses mühendisinin duyuşunu etkilediği için
son ürünün duyulumu üzerinde birinci dereceden önem taşımaktadır. Bu yazıda ses kayıt stüdyolarının
güncel durumu ve sorunları göz önüne alınarak, stüdyo tasarımında dikkat edilmesi gereken akustik
özellikler ve bu özelliklere dayalı tasarımların Dokuz Eylül Üniversitesi, Güzel Sanatlar Fakültesi,
Müzik Teknolojisi Anabilim Dalı Ses Kayıt Stüdyosu özelinde gerçekleştirilen uygulaması aktarılacaktır.
Akustik müdahalelerin öncesindeki ve sonrasındaki veriler karşılaştırılarak elde edilen sonuçlar
değerlendirilecektir.
Abstract (English)
The acoustics of critical listening rooms, studio control and live rooms are studied under the field of
small room acoustics and it is a distinctive field of study in the science of acoustics. The acoustical
properties of the critical listening room also depend on the type of electro-acoustic system installed
and the number of channels in the reproduction. The acoustics of control and live rooms have profound
effects on the way that the engineer hears the reproduced material, thus the final product itself. This
paper aims to evaluate the acoustical considerations in studio design with the current situation in
recording studios and demonstrate the application of these criteria over the recording studio of Dokuz
Eylul University, Fine Arts Faculty, Department of Music Technology. The acoustical situation before and
after the application will be given, and the results will be evaluated.
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Bu çalışmada, ses operatörü olarak yayıncılığın içinden gelen akademisyen kimliğimle Türkiye’de 1990
sonrası yaşanan yayıncılıktaki gelişim/değişim süreci anlatılacak; kısa bir süre önce tamamlanan
yayıncılıkta mikrofon kullanımı üzerine yaptığım bir anket çalışmasının sonuçları tartışılacaktır.
Müzik Prodüksiyonunda Bir Endüstri Standardı Olan Pro Tools İçin Avid Onaylı Eğitim Programları;
Dünyadaki ve Ülkemizdeki Uygulamaları
Bora Uslusoy (Independent Researcher)
Presentation language: Turkish (Session G, Friday)
Günümüzde; müzik prodüksiyonu ve görüntü için müzik alanında en yaygın olarak kullanılan, kuşkusuz
Pro Tools yazılımıdır. Ev kullanıcılarından Hollywood prodüksiyonlarına hizmet veren THX sertifikalı
post-prodüksiyon stüdyolarına kadar farklı seviyelerdeki kullanıcılara hitap eden bu programın üretici
tarafından hazırlanmış özel bir eğitim programı bulunmakta ve Avid Eğitim Ortakları (Avid Learning
Partner-ALP) ile Avid Sertifikalı Eğitmenler (Avid Certified Instructor-ACI) tarafından tüm dünyada
kullanıcılara ulaştırılmaktadır. 100-200-300 olmak üzere toplam üç seviyeye ayrılmış tüm eğitim
programı isteğe bağlı olanlarla birlikte 10’dan fazla kurstan meydana gelmektedir.
Abstract (English)
Pro Tools is arguably the most widely used music production and video software nowadays. The
software having a user base ranging from home based producers to THX certified post production
studios serving Hollywood productions offers the users a special education program prepared by the
manufacturer itself and the program is executed with the help of Avid Learning Partners (ALP) and Avid
Certified Instructors (ACI) world wide. The education program that is offered in three levels as 100-200300 codes is made of more than 10 individual courses including the optional ones.
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