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At Røst



Field recording bonanza continues this week with a trip to Røst. I’ll be visiting Elin Øyen Vister at Røst AIR this week. I will be assisting her with preparation of the installation Røster III for the Ultima festival in Oslo, and I hope to get time to do some recordings as well. Because of strong wind I am currently stuck at the main Røst Island, but I hope to get to Skomvær tomorrow. Røst can safely be added to the list of most spectacular places I have ever visited.

Atmospherics trip



Last week me and Jeremy Welsh went for a 3-day sound and video field-recording trip in Hordaland and Sogn & Fjordane, continuing the Atmospherics project started out last year. As I have been teaching at the Grieg Academy this past spring, I have had less time for field recordings over the past months. It felt great to be back on (4 channel ambisonic) track again.

I am constantly reminded of the fundamental difference between what we see (and capture with a camera) and what we hear (and hence record). One stellar example during this trip was a stop along the winding road climbing the Rørvik mountain in Sogn & Fjordane. In front of us we had a scenic view of the Haukedalsvatnet and the valley surrounding it. Opening the door of the car, we were greeted by the loud engine sound of a tourist bus, running idle while the passengers were out taking snapshots. The sound was completely overshadowing any other sound, turning an assumedly tranquil place into a bus terminal. None of the recordings from this trip escaped the sound of voices, steps, cars, motorbikes, helicopters or airplanes. When recorded, even the most pristine, scenic and assumedly untouched parts of Norway reveal themselves as being dominated by the antroposcene.


Photo by Jeremy Welsh

Ambisonic Toolkit for Reaper 1.0.b5



I’ve uploaded a new beta version of Ambisonic Toolkit for Reaper to

This version fixes an issue with the binaural decoder and Spherical HRTFs at 88.2 and 96 kHz. I’d like to express my gratitude to Juan Pampin for pointing out this bug in the code.

Additionally, there’s a new channel (within track) mute and solo utility plugin that can come in handy when doing effects processing on a B-format => BtoA => FXs => AtoB => Bformat signal processing chain. I would then insert the MuteSoloChannels plugin before the AtoB plugin in order to monitor the effect of the processing on each of the channels of the A-format signal.

Contribution to the book "Labor Mülheim"



I have contributed a chapter to the book Labor Mülheim. Künstlerisches Forschen im Feldern zwischen Prekarität und Kreativität, edited by Jürgen Krushe. The book reflects on artistic research projects carried out in Mülheim in the Ruhr region, and is published by Jovis Verlag GmbH.

The book documents and reflects on artistic research projects corrdinated by Zürcher Horchschule der Künste (ZHdK). An extended version of the reflection on the sonozones project has previously been published in Journal for Artistic Research.

Jamoma DSP workshop in Florida



I have arrived in Florida for a one week Jamoma developer workshop focusing on audio processing and the C++ libraries. The workshop is hosted by Nathan Wolek at Stetson University. Yesterday morning we had a soft start with a breakfast at De Leon Springs. One of my goals for this workshop is to get going with using Jamoma DSP code in AudioUnit plugin development targeting multichannel effect processing in Reaper.


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