Ваша коллекция пуста
Добавьте что-нибудь…
Harvard University Studio For Electro-Acoustic Composition
- Подлейблы:
- О лейбле:
- Harvard University Studio for Electroacoustic Composition (HUSEAC) is a main electro-acoustic music facility at the Harvard University. HUSEAC is a successor of the Harvard Electronic Music Studio (HEMS).
Historically, the principal area of interest at the Harvard Electronic Music Studio had been live electronic sound processing in performance with acoustic instruments. Since Ivan Tcherepnin became a director in 1972, the HEMS had been developed as a modular, flexible and mobile unit as opposed to the monolithic and stationary quality of many electronic music facilities. Mario Davidovsky established an affiliated Harvard Computer Music Center (HCMC) in 1994, providing computer music technology in an approachable environment for non-technical composers.
HUSEAC is equipped with Mac workstations, each running Pro Tools, Nuendo, Max/MSP + Jitter, the IRCAM Forum suite, Csound, and many more software utilities. Room 33 has 7.1 Surround Sound, DV and HDV video editing with a DVD mastering suite. Vintage Serge Modular and Buchla analog synthesizers and a variety of classic outboard signal processors are housed in Room 22.
Illustrations
1. The Ivan Tcherepnin Room (Room 22) is a hybrid analog/digital studio with a collection of vintage gear, including Serge Modular and Buchla modular synthesizers.
2. The original, prototype Serge synthesizer (center) with some later additions.
3. Buchla 100 Series. Most of the modules bear the San Francisco Tape Music Center legend.
4. Room 33, with a workstation equipped for 5.1 and 7.1 surround sound and high-definition video editing.
5. Room 31 (recording studio with variable acoustics).
6. Room 32 (control room).
7. Paine Hall
8. The HYDRA Loudspeaker Orchestra is a sound projection system designed for the performance of electroacoustic music with or w/o the participation of instrumentalists. A loudspeaker orchestra consists of 32 loudspeakers distributed around the concert hall horizontally and vertically to provide a spatial diffusion of an electroacoustic work. Two mixing boards with 32 faders create the possibility to control in real time the individual loudspeakers, or groups of them.
