January 15, 2025
I just received the book that concludes and documents the ViViFiCar project, including my residency in Poço do Canto in Mêda in 2022 and the resulting installation presented there.
A big thanks to everyone who made this possible. I have the best memories, and part of my heart is still left behind in that parish, one of the most beautiful places I have ever visited.




January 25, 2025

I am checking out plugdata, an open-source visual programming environment for audio experimentation, prototyping and education.
plugdata is based on Pure Data, but the interface, revamped using Juce, looks a lot nicer.
More importantly, plugdata can be used as a VST plugin in various DAW programs, bringing patching opportunities to Reaper in a similar way to how Max can be used with Live.
January 29, 2025

This has been a tremendously fun and productive day spent with Therese Næss Diesen, James Welburn and Stein Tore Sønsteli at Lillehammer Kino, exploring and playing with the Dolby Atmos system in Sal 4, as part of an ongoing artistic research project at Universitetet i Innlandet. Today, we did stuff that I have been dreaming of since Dolby Atmos launched in 2012, and the day went far beyond expectations.
Sal 4 is one of a few mixing theatres for full-scale theatrical Atmos in Norway. Usually, this is done by bringing a ProTools session loaded onto a workstation on the site. We managed to connect my laptop to Dante so that I could run the system from there. We went on to do technical tests and listening tests to better understand the format. Quite a few discoveries I was not aware of beforehand, and I have not seen anything in writing on them, although they might be known among professionals working with the format on a regular basis.
One significant find was a workflow using ambisonics as an intermediate format for content development towards Atmos. Sound sources might not be localised exactly where specified in the encoded ambisonics signal, but we got really nice-sounding results.
The second part of the day was spent listening to and tuning a composition by James Welburn. If I remember correctly, it was initially mixed for Atmos by Frank of House in Copenhagen. This session illuminated important differences between authoring approaches for theatrical reproduction and home theatre.
We will continue tomorrow.




