Ambisonics & the ATK @ DXARTS
Joseph Anderson, DXARTS
The Pacific Northwest Section of the AES
Wednesday, November 15th, 7:30pm
University of Washington, Raitt Hall 121
Directions to Raitt Hall at the UofW
Originally developed and commercialized as a practical "full 3D" sound recording and reproduction technique in the 1970s, with recent advancements in VR applications
Ambisonics is enjoying a renewed interest. Offering both theoretical and functional tool-chains,
Ambisonics is ideally suited as an adaptable and "future proof" solution for 3D audio.
In this discussion we'll introduce the principal concepts of the Ambisonic technique and review how these are addressed by the tools found in the
Ambisonic Toolkit (ATK) software package. Additionally, we'll also offer demonstrations of practical projects created at the Center for Digital Arts and
Experimental Media (DXARTS)leveraging the soundfield synthesis and signal processing techniques the ATK offers.
is a composer with a particular interest in the development of a spatio-musical practice of sound composition and performance. This work is focused on
acousmatic music created through self-authored tools and signal processing algorithms. He is the lead author of the Ambisonic Toolkit which brings many of these advanced
spatial techniques to a wider audience of artists and composers. Recognitions for his compositional efforts have included the "Grand Prix" from the 1997 Bourges
Electroacoustic Music Competition for Change's Music.
Having been employed in a wide variety of contexts, Anderson has experience in both industry and academia. Current titles at the University of Washington include
Affiliate Assistant Professor of Composition at the School of Music and Research Scientist at the Center for Digital Arts and Experimental Media (DXARTS). Anderson
has studied Computer Music with Russell Pinkston at the University of Texas, and completed his postgraduate work (MMus, PhD) with Jonty Harrison at the
University of Birmingham, UK.
Student Recording Competition 2017
The purpose of the competition is to engage students in the PNW Section of the AES through a competition in which AES Committee members review students'
work and provide thoughtful critique of production technique of the eligible productions. The entry deadline is November 15, 2017, and winners will be
announced at the December 7th 2017 meeting.
There are four categories of work to be critiqued:
- Traditional Acoustic Music (for example, classical music, etc.)
- Traditional Studio Recording (for example rock, hip-hop, etc.)
- Modern Studio Recording and Electronic Music (for example techno, dance, etc.)
- Sound for Visual Media (for example, video game music, etc.)
Complete details can be found at