Documents

Studio 1

Niklas Adam (na@notam.no) — Thu, 26 Feb 2026 00:00:00 +0000

Under Construction</p> </blockquote>
Overview of Notam's studio 1</p>
This document contains an overview of the setup and use of Notam's studio 1. It is composed of two parts, with the first detailing the hardware and the second containing a quick first use setup guide.</p>

Studio 2 Niklas Adam (na@notam.no) — Wed, 25 Feb 2026 00:00:00 +0000 This studio is not acoustically treated like our other studios. But is is still possible to work with audio in multichannel up to 7.1</p> </blockquote> Overview of Notam's studio 2</p> This document contains an overview of the setup and use of Notam's studio 2. It is composed of two parts, with the first detailing the hardware and the second containing a quick first use setup guide.</p> </i></a> Technical overview</h1> The loudspeaker setup is a simple 7.1 configuration on stands. 3 front, 2 side, 2 back + sub. the side and back speakers can easily be moved to cater for dolby, personal taste, artistic reasons etc.</p> The loudspeaker type is a mix of Genelecs. The front speakers are 1030A and the side+back speakers are 8020A. The subwoofer is a 1092A.</p> </i></a> Controls</h2> The controls you'll find on the desk are quite simple:</p> RME ARC USB</li> </ul> </i></a> Audio connectivity</h2> In the desk you will find an RME UFX USB audio interface. This connects to your Mac / Windows computer via USB (or Linux Computer in CC mode). When using this, your computer's output channels 1-8 will be sent to the loudspeakers in different order depending on the routing type selected. These are preconfigured in RME TotalMix:</p> Stereo+Sub</li> Dolby 7.1</li> Azimuth+Sub</li> CC for "straight playback" while using Class Compliant Mode with Linux</li> </ol> Other routings are possible and can be stored on the empty user recall bottons (TotalMix Snapshots).</p> </i></a> Gear list</h2> Here follows the list of gear making up the signal chain in studio 2 for those who are curious.</p> RME UFX. Audio interface. More info here</a>.</p> </li> RME ARC USB. Volume and routing controller. More info here</a></p> </li> Behringer ULTRAGAIN. ADAT in/out + 8 line/mic inputs. More info here</a>.</p> </li> </ul> </i></a> First time use</h1> </i></a> Using the Mac Studio installed in the desk</h2> no actions needed</li> </ul> </i></a> Setting up your own laptop</h2> Install the RME USB driver at the RME download page</a>.</p> (feel free to do this in advance if you are comfortable doing it, if in doubt ask the staff). Of the two available drivers for Apple computers, the Driverkit</strong> one is recommended. Once the driver is properly installed and you've rebooted, the Totalmix FX window should pop up.</li> </ul> </li> Some caveats involved with the driver install and Totalmix:</p> If Totalmix shows up with a dialog window saying "detected", featuring "yes" and "no" buttons, press "yes" until it goes away.</li> </ul> </li> In the File</strong> menu of Totalmix, press "Load Workspace" and load the studio-2.tmws</em> file located here</a>. Click "yes" if it asks you whether to discard all changes.</p> </li> </ol> If you have any questions about the UFX USB setup and TotalMix, please check the troubleshooting section.</p> </i></a> Troubleshooting</h1> Comming soon..</p> </blockquote> When troubleshooting, please remember to set the studio volume knob at a low level and mute all speakers with the mute switch</em> whenever you are doing something drastic like restarting equipment or connecting cables. There might be no sound when you are troubleshooting, but when you find the problem or manage to properly insert that last cable you forgot, you might be surprised at how loud you were really playing...</p> </blockquote> Studio 3 Thom Johansen (thomj@notam.no) — Tue, 24 Feb 2026 00:00:00 +0000 </a> Figure 1.</figcaption> </figure> </p> Overview of Notam's studio 3</p> This document contains an overview of the setup and use of Notam's studio 3 (studio for spatial audio). It is composed of two parts, with the first detailing the hardware and the second containing a quick first use setup guide.</p> </i></a> Technical overview</h1> The loudspeaker setup is a slightly irregular hemisphere consisting of 24 loudspeakers in three rings. The lower ring of 12 speakers is placed in the horizontal plane at head height. The two additional rings placed further up consists of 8 and 4 loudspeakers respectively. In addition there is currently one subwoofer. The measured loudspeaker positions can be found in various formats in the ###Coordinates section. It is highly recommended that you utilize these if your software supports it because of the irregular distances to the top four speakers.</p> The loudspeaker type is KEF LS-50. The subwoofer (Genelec 7070A) is intended to provide the majority of the low frequency content, so the bass has been rolled off somewhat in the loudspeakers.</p> The sweet spot in the middle of these loudspeakers is at head height above the markings on the floor.</p> </i></a> Controls</h2> The controls you'll find on the desk are quite simple:</p> There is a mute/panic switch on the metal box. The 24 loudspeakers are together capable of excessive sound levels, so keep this switch close if there is a possibility of loud mistakes being made. This switch will disable all the loudspeakers (except the subwoofer) in all positions but the topmost/forward one. It's also a handy way of quickly muting all loudspeakers if you do something you know will generate a loud glitch, for example switching the sample rate. Please make liberal use of this switch, the amplifier is powerful enough to damage the speakers if you are supplying a loud enough signal. Please mute all speakers whenever you leave the studio. The mute switch currently does not mute the subwoofer, this is normal.</p> </li> There is a volume controller in the shape of a white round knob. This controls the level of all loudspeakers, including the subwoofer. If you find that you need an even higher level than this can provide, ask the staff. Be advised that this indicates your material is at a rather low level.</p> </li> </ul> </i></a> Audio connectivity</h2> On the table you will find an RME Madiface USB. This connects to your Windows or Mac computer via USB. When using this, your computer's output channels 1-24 will be sent to the loudspeakers (see diagram on last page for channel numbering). Output 25 is sent to the subwoofer.</p> The Madiface USB is supposed to be set up as clock master to allow you to select the sample rate yourself, but thanks to limitations in the hardware, the only easily supported sample rates are 44.1 kHz and 48 kHz. If you have a good reason for requiring either 88.2 kHz or 96 kHz, tell the staff. 192 kHz is not supported.</p> The audio connections in the studio are MADI based, which makes it non-trivial to connect other hardware to the system. We do however have solutions in place, so feel free to ask. As a quick summary, we can easily accomodate seven analogue line/mic inputs (via the patch panel in the front of the room) and MADI.</p> </i></a> Gear list</h2> Here follows the list of gear making up the signal chain in studio 3 for those who are curious.</p> RME Madiface USB. Used as an interface to the user's computer inside the studio. For more info, visit the RME Madiface USB details page</a>.</p> </li> RME Madiface XT. Connected to the Madiface USB inside the studio. Functions as a standalone volume controller and loudspeaker signal processor (bass management, etc.). More info here</a>.</p> </li> Ferrofish A32. Converts the MADI signal from the Madiface XT to analogue line signals. Also optionally converts any analogue signals from external equipment to digital MADI signals for use in the studio. More info here</a>.</p> </li> Sonible D:24. Amplifies the A32 line level signals and drives the 24 loudspeakers inside the studio. The subwoofer is currently active and needs no amplifier. More info here</a>.</p> </li> </ul> </i></a> First time use</h1> </i></a> Setting up</h2> Set the mute switch to one of the lower positions and the volume controller to a very low level (counter-clockwise).</p> </li> Install the RME Madiface USB drivers at the RME download page</a>.</p> </li> </ol> feel free to do this in advance if you are comfortable doing it. If in doubt ask the staff.</li> </ul> </blockquote> Of the two available drivers for Apple computers, the Driverkit</strong> one is recommended. Once the driver is properly installed and you've rebooted, the Totalmix FX window should pop up.</li> </ul> </blockquote> Some caveats involved with the driver install and Totalmix: If Totalmix shows up with a dialog window saying "detected", featuring "yes" and "no" buttons, press "yes" until it goes away.</li> </ul> </li> </ol> If you are using MacOS 10 (10.13 High Sierra or higher), read the special notice contained in the driver package for this operating system, or the driver will possibly not work</em>. How to choose the right RME Driver for your Mac Operating System</a></li> </ul> </blockquote> In the File</strong> menu of Totalmix, press "Load Workspace" and load the totalmix workspace</em> file located here</a>. Click "yes" if it asks you whether to discard all changes.</p> </li> After switching the mute switch to the top position you should now be good to go, and all the loudspeakers in the studio will be available from your software of choice.</p> </li> </ol> If you have any questions about the Madiface USB setup, please check the troubleshooting section.</p> Notam's decoder files for usage with the IEM SimpleDecoder can be found here</a></li> </ol> </i></a> Reaper template</h1> Here</a> you will find a Reaper template for ambisonics work with the IEM Plug-in Suite.</p> </i></a> Troubleshooting</h1> If you have any problems, first bring up the Fireface USB settings</strong> dialog window (should be found in your dock/task bar/system tray), and make sure the following options are set correctly (top to bottom):</p> Output format set to "64 (32) ch." and "96K Frame"</li> Sample rate is set to either 44100 Hz or 48000 Hz</li> Clock source is set to "internal"</li> </ul> </li> Totalmix should be set up properly after loading the workspace file provided, but as a quick summary, all output channels from 1 to 25 should be set to 0 dB, and channel routing from software to hardware outputs should be 1:1, as it is after performing a "Straight playback" mix reset in the options menu.</p> </li> If the volume controller or mute switch does not work, please contact the staff.</p> </li> </ul> When troubleshooting, please remember to set the studio volume knob at a low level and mute all speakers with the mute switch</em> whenever you are doing something drastic like restarting equipment or connecting cables. There might be no sound when you are troubleshooting, but when you find the problem or manage to properly insert that last cable you forgot, you might be surprised at how loud you were really playing...</p> </blockquote> </i></a> Speaker placement and channel order drawing</h2> Figure 2.</p> </i></a> Coordinates</h1> Loudspeaker coordinates as of 29.11.2024</p> </i></a> AED format:</h2> Angle, Elevation, Distance</li> IRCAM Spat Compatible</li> Positive azimuths CLOCKWISE</li> 0 degree azimuth is forwards (front speaker)</li> </ul> </blockquote> 0 0 2 30 0 2 60 0 2 90 0 2 120 0 2 150 0 2 180 0 2 -150 0 2 -120 0 2 -90 0 2 -60 0 2 -30 0 2 22.5 29.2 1.95 67.5 28.7 1.936 112.5 28.8 1.938 157.5 28 1.918 -157.5 28.8 1.931 -112.5 29 1.937 -67.5 28.8 1.939 -22.5 28.5 1.939 45 61.6 1.523 135 59.8 1.538 -135 60 1.545 -45 59.8 1.538 </code></pre> </i></a> json AERC format</h2> Azimuth, Elevation, Radius, Channel</li> Negative azimuths is CLOCKWISE</li> 0 degree azimuth is forwards (front speaker)</li> </ul> </blockquote> Created via jq</code> on Notam's decoder file found here</a></p> jq '.LoudspeakerLayout.Loudspeakers \ | sort_by(.Channel) \ | map(del(.IsImaginary, .Gain))' \ s3_iem_decoder_config_2024.json </code></pre> [ { "Azimuth": 0.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 1 }, { "Azimuth": -30.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 2 }, { "Azimuth": -60.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 3 }, { "Azimuth": -90.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 4 }, { "Azimuth": -120.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 5 }, { "Azimuth": -150.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 6 }, { "Azimuth": -180.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 7 }, { "Azimuth": 150.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 8 }, { "Azimuth": 120.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 9 }, { "Azimuth": 90.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 10 }, { "Azimuth": 60.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 11 }, { "Azimuth": 30.0, "Elevation": 0.0, "Radius": 2.0, "Channel": 12 }, { "Azimuth": -22.5, "Elevation": 29.20000076293945, "Radius": 1.950000047683716, "Channel": 13 }, { "Azimuth": -67.5, "Elevation": 28.70000076293945, "Radius": 1.935999989509583, "Channel": 14 }, { "Azimuth": -112.5, "Elevation": 28.79999923706055, "Radius": 1.937999963760376, "Channel": 15 }, { "Azimuth": -157.5, "Elevation": 28.0, "Radius": 1.917999982833862, "Channel": 16 }, { "Azimuth": 157.5, "Elevation": 28.79999923706055, "Radius": 1.930999994277954, "Channel": 17 }, { "Azimuth": 112.5, "Elevation": 29.0, "Radius": 1.937000036239624, "Channel": 18 }, { "Azimuth": 67.5, "Elevation": 28.79999923706055, "Radius": 1.939000010490417, "Channel": 19 }, { "Azimuth": 22.5, "Elevation": 28.5, "Radius": 1.939000010490417, "Channel": 20 }, { "Azimuth": -45.0, "Elevation": 61.20000076293945, "Radius": 1.523000001907349, "Channel": 21 }, { "Azimuth": -135.0, "Elevation": 59.79999923706055, "Radius": 1.537999987602234, "Channel": 22 }, { "Azimuth": 135.0, "Elevation": 60.0, "Radius": 1.544999957084656, "Channel": 23 }, { "Azimuth": 45.0, "Elevation": 59.79999923706055, "Radius": 1.537999987602234, "Channel": 24 } ] </code></pre> </i></a> Decoder</h1> </i></a> IEM AllRAD</h2> Notam's decoders made with the AllRAD approach for usage with the SimpleDecoder</em>:</p> 5th order maxrE</a>.</li> 5th order inphase</a>.</li> 7th order maxrE</a>.</li> 7th order inphase</a>. For more information on the approach check IEM's AllRADecoder Guide</a></li> </ul> Use the same json file with the DistanceCompensator</em>. Dont forget to enable the 25th channel for the sub. And same with the SimpleDecoder</em>. Set the sub channel to discrete</strong> and choose channel 25.</p> </blockquote> </i></a> Weights</h2> These are two different decoder optimization strategies</strong> (also called "shelf filters" or "weighting schemes") used when decoding Ambisonics to loudspeaker arrays. They address a fundamental trade-off between spatial accuracy</strong> and perceptual quality</strong>.</p> A basic ("sampling") Ambisonics decoder reconstructs the sound field accurately in theory, but our ears don't perceive it that way in practice. Higher-order components contribute energy that can cause tonal coloration, diffuse imaging, or even unstable/phasey</strong> perception — especially with limited loudspeaker arrays. Weightings are applied to the Ambisonic orders to compensate.</p> </i></a> MaxRE (Maximum Energy Vector)</h3> MaxRE</strong> maximizes the energy vector (rE)</strong>, which is a measure of the direction from which the listener perceives the majority of sound energy. It's derived from psychoacoustics — specifically, the idea that at high frequencies, the auditory system localizes based on energy</strong> rather than pressure.</p> Applies a cosine-based window across orders: weights are cos(π·n / 2(N+1))</code> for order n</em> in an order-N</em> system</li> Tends to narrow the perceived source width</strong> and improve localization sharpness</li> At the cost of a slight reduction in the accuracy of the reconstructed wave field</li> Particularly important for high frequencies</strong> (above ~700 Hz), where the energy vector dominates perception</li> Gives a longer rE vector</strong> — meaning perceived sound is more directionally focused</li> </ul> Think of it as:</strong> optimized for where</em> the sound seems to come from.</p> </blockquote> </i></a> InPhase</h3> InPhase</strong> ensures that all loudspeakers in the array reproduce signals that are in phase with each other</strong> for a source at any direction. This prevents cancellation artifacts and phase conflicts between speakers.</p> Applies heavier attenuation to higher orders than MaxRE</li> Produces a wider, more diffuse</strong> image, but with robust, stable mono-compatible output</li> Avoids negative loudspeaker contributions (no speaker ever "pulls" the image in the wrong direction)</li> Important for low frequencies</strong> and for systems where listener position varies (e.g., large audiences)</li> </ul> Think of it as:</strong> optimized for stability and cohesion</em> of the sound image.</p> </blockquote> </i></a> Side-by-Side Comparison</h3> Property</th> Basic (no weighting)</th> MaxRE</th> InPhase</th></tr></thead> Goal</td> Accurate wave field</td> Max energy vector</td> All speakers in phase</td></tr> High-freq localization</td> Poor</td> Best</strong></td> Moderate</td></tr> Image stability</td> Unstable</td> Good</td> Best</strong></td></tr> Source width</td> Narrow but phasey</td> Moderate</td> Widest</td></tr> Order attenuation</td> None</td> Moderate</td> Heaviest</strong></td></tr> Negative speaker gains?</td> Yes</td> Sometimes</td> Never</strong></td></tr> Best for</td> Analysis</td> Playback (HF)</td> Large venues / LF</td></tr> </tbody></table> </i></a> Usage</h3> In practice, a well-designed Ambisonics decoder uses both</strong>, applied in different frequency bands via shelf filters:</p> Low frequencies (~below 700 Hz):</strong> InPhase weighting (or basic), because phase coherence matters more perceptually</li> High frequencies (~above 700 Hz):</strong> MaxRE weighting, because energy-based localization dominates</li> </ul> This is the basis of the dual-band or "psychoacoustic" decoder</strong> described by Gerzon and later formalized in tools like the AllRAD</strong> and EPAD</strong> decoder designs.</p> </i></a> Order Overview (0th – 7th)</h1> In 3D (full-sphere) Ambisonics, each order N adds (2N+1)</strong> new spherical harmonic components. The total number of channels for a complete N th-order system is (N+1)²</strong>.</p> </i></a> Order Table</h2> Order (N)</th> New Components (2N+1)</th> Total Channels (N+1)²</th> ACN Channel Indices</th> Common Label</th> Spatial Detail</th></tr></thead> 0</td> 1</td> 1</td> 0</td> W</td> Omnidirectional — no directional information</td></tr> 1</td> 3</td> 4</td> 1–3</td> Y, Z, X</td> Front/back, up/down, left/right — basic directionality</td></tr> 2</td> 5</td> 9</td> 4–8</td> V, T, R, S, U</td> Quadrupole patterns — moderate spatial detail</td></tr> 3</td> 7</td> 16</td> 9–15</td> Q, O, M, K, L, N, P</td> Octupole patterns — good localization, typical VR/spatial audio target</td></tr> 4</td> 9</td> 25</td> 16–24</td> —</td> Fine directional resolution — high-quality immersive audio</td></tr> 5</td> 11</td> 36</td> 25–35</td> —</td> Very fine resolution — approaching perceptual limits for most listeners</td></tr> 6</td> 13</td> 49</td> 36–48</td> —</td> Extremely fine resolution — research / high-end reproduction systems</td></tr> 7</td> 15</td> 64</td> 49–63</td> —</td> Near-theoretical maximum perceptual resolution for human hearing</td></tr> </tbody></table> </i></a> Channel Labels (FuMa Notation)</h2> The letters come from FuMa (Furse-Malham) notation</strong>, the older naming convention for Ambisonic channels. Each letter maps to a specific spherical harmonic shape</strong> — essentially a 3D pattern describing which directions that component is sensitive to.</p> </i></a> Order 0</h3> Label</th> Description</th></tr></thead> W</strong></td> The omnidirectional component. Picks up sound equally from all directions — like a perfect omni microphone. It's the "base" of the entire sound field.</td></tr> </tbody></table> </i></a> Order 1</h3> Label</th> Axis</th> Description</th></tr></thead> X</strong></td> Front/Back</td> Figure-of-eight pattern pointing forward and backward</td></tr> Y</strong></td> Left/Right</td> Figure-of-eight pattern pointing left and right</td></tr> Z</strong></td> Up/Down</td> Figure-of-eight pattern pointing up and down</td></tr> </tbody></table> These three together with W give you a complete first-order B-format</strong> signal — the classic output of a Soundfield microphone, and the foundation of all Ambisonics.</p> </i></a> Order 2</h3> Label</th> Description</th></tr></thead> R</strong></td> Vertical "axial" component — a zonal harmonic aligned to the Z axis</td></tr> S</strong></td> Diagonal pattern in the XZ plane</td></tr> T</strong></td> Diagonal pattern in the YZ plane</td></tr> U</strong></td> Horizontal "saddle" pattern — differentiates front/back from left/right in the XY plane</td></tr> V</strong></td> Diagonal pattern in the XY plane, rotated 45° from U</td></tr> </tbody></table> </i></a> Order 3</h3> Label</th> Description</th></tr></thead> K</strong></td> Zonal harmonic along Z axis (vertical, narrow lobe)</td></tr> L</strong></td> Tesseral pattern in the XZ plane</td></tr> M</strong></td> Tesseral pattern in the YZ plane</td></tr> N</strong></td> Sectoral pattern mixing X and Y axes</td></tr> O</strong></td> Sectoral pattern mixing X and Y axes, rotated</td></tr> P</strong></td> Diagonal pattern in the XZ plane</td></tr> Q</strong></td> Diagonal pattern in the YZ plane</td></tr> </tbody></table> </i></a> Useful intuition</h3> The letters themselves are somewhat arbitrary</strong> — they're just shorthand tags assigned by Furse and Malham in the 1990s. What actually matters is the spherical harmonic function</strong> each one represents, which determines its polar pattern in 3D space.</p> A useful intuition is that as you go up in order:</p> Order 0</strong> — one blob, no directionality</li> Order 1</strong> — adds three figure-of-eight lobes along the three axes</li> Order 2</strong> — adds five more complex "clover-leaf" and saddle shapes</li> Order 3</strong> — adds seven even more intricate patterns</li> </ul> Each new set of patterns fills in finer and finer angular detail, which is why higher orders give better spatial resolution.</p> Modern systems (AmbiX / ACN+SN3D) dropped the letter names entirely above order 1 and just use the numeric (N, M)</strong> degree/order index, which scales cleanly to any order without needing to invent new letters.</p> </i></a> Notes</h2> ACN</strong> (Ambisonic Channel Numbering) is the standard modern ordering, defined as N² + N + M</code> for degree N, order M.</li> Channel count grows quadratically</strong> — doubling the order more than quadruples the channels.</li> 3rd order (16ch)</strong> is the most common target for practical spatial audio (e.g. game engines, VR headsets, streaming).</li> HOA (Higher Order Ambisonics)</strong> typically refers to order 2 and above.</li> Component letter names (W, X, Y, Z, etc.) are used in FuMa</strong> notation and only standardized up to order 3; higher orders are typically referred to by their ACN index or (N, M) degree/order pair.</li> The SN3D</strong> normalization scheme (used in AmbiX format) is the current standard for encoding these components.</li> </ul> </i></a> Recommendations</h1> Many workflows are possible in our Spatial Audio Studio. The staff is mostly using Reaper</a> with the IEM Plug-in Suite</a> and SuperCollider</a> with ATK</a>.</p> In general we work with Ambisonics</a> and VBAP</a>. But if needed Dolby Atmos is possible. ^^.</p> </blockquote> 2018 Christian Blom (blom@notam.no) — Wed, 03 Dec 2025 00:00:00 +0000 </i></a> Hjelp til skapende arbeid</h1> Notam støtter musikk- og kunstprosjekter initiert av våre brukere. Vi bestiller verk og bistår i hele den skapende prosessen. Nedenfor omtales noen av produksjonene som ble laget hos oss i 2018.</p> </i></a> Therese Birkelund Ulvo: 13 ways to tame a beast</h2> Dette er installasjon som Ulvo utviklet i samarbeid med Notam og Oslo-filharmonien. Orkesteret ble tatt opp i 32 kanaler og enkeltstemmene ble spredt i et kringlydsystem i det mørke Hvelvet, sparebankens gamle skattkammer på Sentralen. For publikum var det som å bevege seg rundt i et tre- dimensjonalt orkester hvor man kunne oppleve de ulike elementene av musikken ved å utforske rom- met. Instrumentene er delt inn i seks forskjellige lydstasjoner, eller som Ulvo beskriver dem, «verde- ner inni universet». Fra Notam var Cato Langnes, Mads Kjeldgaard og Thom Johansen involvert.</p> </i></a> Elin T. Sørensen: Soundwalks</h2> Elin T. Sørensen er billedkunstner, landskapsarkitekt og doktorgradsstipendiat ved Fakultet for landskap og samfunn ved NMBU på Ås, og som en del av arbeidet der har hun gjort en urban stedsanalyse av Oslos havnepromenade. Studiet kan kortfattet sies å handle om og undersøke hvordan vi bygger ut kystsonen og hvordan natursystemet responderer på inntoget av kunstige konstruksjoner. En av oppgavene er å utvikle et nytt fagspråk for fjæresonen – landskapet fra høyeste høyvann til laveste lavvann. Arbeidene innbefatter to soundwalks med tilhørende grafisk notasjon i form av polyvokale kart. Sørensen har gjort feltopptakene og redigert her på Notam, med hjelp til miksing og mastring fra Cato Langnes.</p> </i></a> Knut Olaf Sunde: Himdalen og Mirnyj</h2> Knut Olaf Sunde arbeider ofte med stedspesifikk musikk. Dette er musikk som gir mest mening når den blir opplevd i situasjonene den er tenkt for. Slik sett er musikken i slekt med den stedsspesifikke visuelle kunsten. Sunde har arbeidet på denne måten i mange år, høsten 2018 premierte han Himdalen og Mirnyi, begge verkene er utviklet i samarbeid med Notam. Himdalen er et dalsøkk øst for Øyeren i Akershus. Her ligger Norges eneste sluttdeponi for radioaktivt avfall – KLDRA Himdalen. Her arrangerte Sunde en konsertinstalla- sjon som varte novembernatten gjennom. Mirnyj ligger i Sibir i Russland. Hele grunnlaget for byen er diamantforekomstene. I byen ligger et nedlagt dagbrudd som med sine enorme dimensjoner er verdens nest største menneskeskapte hull i bak- ken. Stedet tjente som bakteppe, tema og per- spektiv i et fire timer langt verk for elektronisk lyd. Fra Notam bisto Jøran Rudi og Cato Langnes.</p> </i></a> Simon Løffler: Mekaniske sangfugler</h2> Simon Løfflers stykke Songbirds ble fremført under årets Ultima-festival, og stykkets sangfugler er laget ved NOTAM. De er små kombinasjoner av finmekanikk og elektronikk som synger og klaprer med nebbet etterhvert som stykket utvikler seg. Det gledelig uvanlige med dette prosjektet er at lydene frembringes mekanisk og ikke via elektroakustikk, selv om kontrollen er digital. Å få fuglene til å «lese» midi, klapre med nebbet og produsere lyd ved hjelp av en fløyte viser den unike bredden i kompetansen til Notams Hans Wilmers.</p> </i></a> Tor Jørgen van Eijk Fifth: Loop og Tranquil</h2> Videokunstneren Tor Jørgen van Eijk har vært en vedvarende bruker av NOTAMs maskinpark siden tidlig 2000-tall. Kunsten hans er krevende, på grunn av hans repetisjoner i både struktur og bildebehandlingsteknikk på signalnivå, eller gjen- nom hans valg av eksplisitt seksuelle fremstillinger. Teknisk gjør han bruk av Silicon Graphics maskiner fra tidlig 90-tall, og bruker programvaren Jaleo. Sommeren 2018 stilte van Eijk ut verker i Tromsø kunstforening og to av dem, Fifth Loop og Tranquil in RGB, er i sin helhet laget hos NOTAM.</p> </i></a> Pernille Meidel: Hav-Havn-Savn-Gavn</h2> Utvikler ved Notam, Hans Wilmers, veiledet Per- nille Meidel i byggingen av en tåkelur på seilbåten Slursula. Utformingen av tåkeluren ble gjort utfra akustiske prinsipper. Lyden av tåkelur høres på kysten når tåken tar sikten fra fartøyene. Lyden er voldsom og kan bære mange kilometer for å forhindre at skip grunnstøter. Signalet består av lavfrekvente lyder som reiser lange distanser. Lydsignalet blir plukket opp av landskapet og skaper ekkovariasjoner. Lyden vil da kunne formidle omgivelsene på tross av dårlig sikt, alt etter lydens ekko i landskapet. Signalet er forbundet med mystikk, det advarer om en uoversiktlig situasjon og signaliserer både fare samtidig som det formid- ler et håp. Hvorfor Pernille valgte akkurat Tåkelur forklarer hun slik: «Jeg er først og fremst opptatt av det enorme drønnet et slikt horn kan lage og det mystiske jeg føler den representerer. Prosjektets tema kretser rundt hvordan tåkelurens signal både kan gi oss en følelse av å føle trygghet og utrygghet på samme tid. Dobbeltheten ved at tåkeluren signaliserer fare samtidig som den signaliserer for at en skal unngå at man kommer i fare, gjør at lyden både er vakker og skummel på en gang.»</p> </i></a> Inger Cecilie Bertran de Lis: Tumble in the Jungle</h2> Tumble in the Jungle var en danseforestilling til passet hørselshemmede og døve barn, som har hatt lite tilbud av dansekunst. Forestillingen var også for barn som ikke har denne funksjonshemningen, og kan slik sett være en samlende forestilling for alle barn. På scenen møtte vi to dansere og en døv musiker. Vi fulgte deres oppdagelsesferd gjennom absurde humoristiske og poetiske tablåer. NOTAMs Hans Wilmers har laget tre vibrerende objekter som brukes i forestillingen, og de lager vibrasjon i forskjellige mønstre når de holdes i hånden.</p> </i></a> Risto Holopainen og Per Hess: Neonmeditasjoner</h2> Neonmeditationer er et samarbeid mellom Risto Holpainen og Per Hess der farger fra neonlys blir lest av og brukt til å styre lydgenerering og -behandling. Prosjektet ble vist for publikum den 11. oktober. Hess’ håndlagede lysstoffrør består av segmenter med forskjellig farge, og med hjelp an NOTAMs Hans Wilmers ble det utarbeidet sensorer for å konvertere lys fra de forskjellige segmentene om til inngangssignaler til Risto Holopainens modulærsynth. Alle sensorene består av to fargefiltre og to motstander som sammen produserer et spenningssignal som gjenspeiler balansen mellom fargeblandingene, slik de blir definert av filtrene. Sensorene fungerer som bin- deledd mellom lyskunsten til Per Hess og musikken til Risto Holopainen, og forvandler fargene til musikk.</p> Ambisonics Archive Niklas Adam (na@notam.no) — Wed, 03 Dec 2025 00:00:00 +0000 There are two work categories as of today 270226. Historical</em> (H) and Contemporary</em> (C).</p> </i></a> List of works</h2> Code</th> Composer</th> Work</th> Format</th> Year</th> Status</th></tr></thead> H</td> Gunnar Sønstevold</td> Stormen</td> ?</td> ?</td> Archived</td></tr> H</td> Arne Nordheim</td> Solitaire</td> 5OA</td> ?</td> Archived</td></tr> H</td> Arne Nordheim</td> PolyPoly</td> ?</td> ?</td> Archived</td></tr> H</td> Arne Nordheim</td> Vevnad</td> 5OA</td> ?</td> Archived</td></tr> H</td> Knut Wiggen</td> Sommarmorgon</td> 5OA</td> ?</td> Archived</td></tr> H</td> Knut Wiggen</td> Etyd</td> 5OA</td> ?</td> Archived</td></tr> H</td> Knut Wiggen</td> Resa</td> 5OA</td> ?</td> Archived</td></tr> H</td> Knut Wiggen</td> Massa</td> 5OA</td> ?</td> Archived</td></tr> H</td> Knut Wiggen</td> EMS för sig själva</td> 5OA</td> ?</td> Archived</td></tr> H</td> Bjørn Fongaard</td> Galaxe</td> 5OA</td> ?</td> Archived</td></tr> H</td> Bjørn Fongaard</td> Sinfonia Miceotonalis no 1</td> 5OA</td> ?</td> Archived</td></tr> H</td> Irma Salo Jæger/Sigurd Berge/Jan Erik Vold</td> Blikk</td> ?</td> ?</td> FRIN</td></tr> H</td> Karin Krog</td> Santa Monica</td> ?</td> ?</td> FRIN</td></tr> H</td> Karin Krog</td> For my two JB's</td> ?</td> ?</td> FRIN</td></tr> H</td> Karin Krog</td> As a wife has a cow</td> ?</td> ?</td> FRIN</td></tr> H</td> Karin Krog</td> Aria with Fontana Mix</td> ?</td> ?</td> FRIN</td></tr> H</td> Jonathan Harvey</td> Arditti Quartet – String Quartet No. 4 (2003) With Live Electronics</td> 5OA</td> ?</td> Archived</td></tr> ?</td> Jøran Rudi</td> Bruitsderaison</td> 5OA</td> ?</td> FRIN</td></tr> ?</td> Jøran Rudi</td> Babel Study</td> 5OA</td> ?</td> FRIN</td></tr> ?</td> Geir Jonsson</td> Cor Mundum Crea</td> 5OA</td> ?</td> FRIN</td></tr> C</td> Gyrid Kaldestad</td> Fragmented Voices</td> 5OA</td> ?</td> Archived</td></tr> C</td> Risto Holopainen</td> In Vito</td> 5OA</td> ?</td> Archived</td></tr> C</td> Bethan Kellough</td> Aven</td> TOA</td> ?</td> Archived</td></tr> C</td> Niilas</td> Vinter</td> TOA</td> ?</td> Archived</td></tr> C</td> Cristian Vogel</td> Mermans Lament</td> TOA</td> ?</td> Archived</td></tr> C</td> Idin Samimi Mofakham</td> ...of struggle and hope</td> 5OA</td> ?</td> Archived</td></tr> ?</td> Nikolai Winge Sildre</td> Tanker</td> 5OA</td> ?</td> Archived</td></tr> C</td> Ernst van der Loo</td> Hypnagogia</td> 5OA</td> 2024</td> Archived</td></tr> ?</td> Gisle Kverdok</td> Marble Surpluss</td> 5OA</td> ?</td> Archived</td></tr> C</td> Øystein Wyller Odden</td> Stone Piece (Martin Ødegaard Stykekvintett)</td> 5OA</td> ?</td> Archived</td></tr> C</td> Kevin Volans Chakra</td> Sisu</td> 5OA</td> ?</td> Archived</td></tr> C</td> Stian Westerhus</td> Amputation</td> 5OA</td> 2016</td> Archived</td></tr> C</td> Ola Moen</td> Prologue</td> 5OA</td> ?</td> Archived</td></tr> C</td> Ruben Sverre Gjertsen</td> Silje Aker, Aria. Espeviken</td> 5OA</td> ?</td> Archived</td></tr> C</td> Mariam Gviniashvili</td> Revelations</td> ?</td> ?</td> FRIN</td></tr> C</td> Sara Hamming</td> English Speakers</td> 5OA</td> ?</td> Archived</td></tr> C</td> Anders Vinjar</td> The Music is a Wave</td> ?</td> ?</td> FRIN</td></tr> C</td> Per Martinsen (Mental Overdrive)</td> Waveform</td> ?</td> ?</td> FRIN</td></tr> C</td> Tulle Ruth</td> Spor (rein-symfoni)</td> 7OA</td> 2024</td> Archived</td></tr> C</td> Ruth Wilhelmine Meyer</td> Lokeslottet / The Loki Castle</td> 7OA</td> 2024</td> Archived</td></tr> C</td> Natasha Barrett</td> Glass Eye</td> ?</td> ?</td> FRIN</td></tr> C</td> Balint Lazcko</td> Burst</td> ?</td> ?</td> FRIN</td></tr> C</td> Vilbjørg Broch</td> ES QC – using mathematical quasicrystals to inform spatial audio</td> HOA</td> ?</td> Archived</td></tr> C</td> Vilbjørg Broch</td> Phe noType</td> HOA</td> 2024/2025</td> Archived</td></tr> C</td> Vilbjørg Broch</td> To the wind</td> HOA</td> 2024</td> Archived</td></tr> C</td> Vilbjørg Broch</td> Netop som Digter</td> HOA</td> 2025</td> Archived</td></tr> C</td> Vilbjørg Broch</td> Alloys of the Vast 2</td> HOA</td> 2025</td> Archived</td></tr> C</td> Giuseppe Pisano</td> Anecdote_#1: a chuva, talvez __ la pluie, peut-être</td> 7OA</td> ?</td> Archived</td></tr> C</td> Giuseppe Pisano</td> Scie Luminosissime</td> 7OA</td> ?</td> Archived</td></tr> C</td> Totaleee</td> Non è un atlante di traiettorie algo-siderali</td> 7OA</td> ?</td> Archived</td></tr> C</td> Totaleee</td> Non è un compendio di etologia numerico-digitale</td> 6OA</td> ?</td> Archived</td></tr> C</td> Thorvald Bugge Helle</td> Tempting Soil</td> 5OA</td> ?</td> Archived</td></tr> C</td> Signe Heinfelt</td> Fairies</td> 5OA</td> ?</td> Archived</td></tr> C</td> Mads Kjeldgaard</td> I Solens Flint</td> 7OA</td> ?</td> FRIN</td></tr> </tbody></table> Microphones Niklas Adam (na@notam.no) — Wed, 03 Dec 2025 00:00:00 +0000 The following microphones are available for in-house loan to Notam users.</p> Qty</th> Microphone</th></tr></thead> 2 (4)</td> Røde NT55 (stereo set)</td></tr> 3</td> Røde NT1 (5th Gen)</td></tr> 2</td> Røde M1</td></tr> 2</td> Røde NT-SF1</td></tr> 2 (4)</td> Neumann KM 183 (stereo set)</td></tr> 1</td> Neumann KM 140</td></tr> 1</td> Neumann KM 120</td></tr> 1</td> AKG 414</td></tr> 2</td> DPA 4060</td></tr> 5</td> Shure SM58 LC</td></tr> 3</td> Shure SM57 LC</td></tr> 3</td> Shure Beta 57A</td></tr> 1</td> Soundfield ST350</td></tr> 1</td> Sony ECM-MS 957</td></tr> 1</td> Sony ECM-MS 5</td></tr> </tbody></table> General gear list Niklas Adam (na@notam.no) — Sun, 27 Apr 2025 00:00:00 +0000 The following gear is available for in-house loan at Notam for concerts, workshops, projects etc.</p> </i></a> Speakers</h2> Qty</th> Model</th></tr></thead> 4</td> L-Acoustics 108P</td></tr> 1</td> L-Acoustics SB15P</td></tr> 12</td> Genelec 8020</td></tr> 2</td> dB Tech. Opera 710 DX</td></tr> </tbody></table> </i></a> Interfaces / Recorders</h2> Qty</th> Model</th></tr></thead> 1</td> Fireface UFX</td></tr> 1</td> Fireface UCX</td></tr> 1</td> Grace Design m802</td></tr> 1</td> MOTU AVB 16A</td></tr> 2</td> Behringer UMC202HD</td></tr> 1</td> Behringer UMC1820</td></tr> 1</td> Sound Devices MixPre-6</td></tr> </tbody></table> </i></a> Mixers</h2> Qty</th> Model</th></tr></thead> 1</td> Mackie 1202-VLZ</td></tr> 1</td> Mackie 1202-VLZ4</td></tr> 1</td> Behringer X32</td></tr> 1</td> Behringer Xenyx QX2442 USB</td></tr> </tbody></table> </i></a> DI</h2> Qty</th> Model</th></tr></thead> 7</td> Behringer ULTRA-DI 100</td></tr> </tbody></table> </i></a> Power / Misc</h2> Qty</th> Model</th></tr></thead> 1</td> Cordial CAT 5 trommel 50 meter</td></tr> 3</td> Tsssnake Cat Snake 3MB</td></tr> 3</td> Tsssnake Cat Snake 3FB</td></tr> 1</td> Foxtex VC-8 (ADAT - RCA)</td></tr> —</td> Diverse schuko strømkabler og padder</td></tr> 5</td> Genelec Short Truss Mount (8000-416B)</td></tr> 1</td> C-clamp med Genelec clamp</td></tr> </tbody></table> </i></a> Stands</h2> Qty</th> Model</th></tr></thead> 5</td> K&M 3-leg (for 108P)</td></tr> 6</td> lave K&M micstativ m galge</td></tr> 8</td> høye K&M micstativ med galge (1.55 / 2.2 meter)</td></tr> 4</td> høye K&M micstativ uten galge (1.55 meter)</td></tr> 2</td> Manfrotto 5001 B ~2 meter</td></tr> 1</td> Sachtler L1 (lys) ~2.4 meter</td></tr> 1</td> Elinchrom w/ Aputure rotate mount (lys, air-cushioned) 2.6 meter</td></tr> 1</td> K&M Schwenk-arm 21231 (på stor tripod)</td></tr> 2</td> 44 cm round base speaker stand (merke/model?)</td></tr> 1</td> Benro Aero 4 (A2883F) (kamera mount)</td></tr> 1</td> Go Plus Travel (FGP18A) (kamera mount)</td></tr> </tbody></table> </i></a> Light / Video</h2> Qty</th> Model</th></tr></thead> 1</td> Tempo 12 - small DMX mixer</td></tr> 2</td> XBABY Color</td></tr> 3</td> XBABY TW</td></tr> 3</td> Stagebeam MKII 300/500w Fresnel</td></tr> 1</td> Showtec Light-Brick 4 channel</td></tr> 1</td> ATEM mini Pro ISO video mixer</td></tr> 1</td> Blackmagic Pocket Cinema Camera 4K</td></tr> 1</td> Optoma DLP Projector C1E 1080p</td></tr> </tbody></table>

Documents

Studio 1

</i></a> Troubleshooting</h1> will be updated soon..</p> </blockquote>

Studio 2

Studio 3

2018

Ambisonics Archive

Microphones

General gear list