ISME Research Commission Pre Conference Seminar

The ISME Research Commission's pre conference seminar will be held in
11-15 July 2022 at the University of Queensland, Brisbane, Australia.
Submissions are now open. Full information can be found here:
https://ismeworldconference.org/research-commission/

Pre-conference seminars are smaller, specialised events focussed on an
area of practice or field of work.

Special Issue: Music in the lives of young children published in ECDC Inbox

We are very pleased to announce the publication of the special issue "Music in the lives of young children" in Early Child Development and Care. There is a growing body of literature pointing to the significance of engaging with music, and to its potential for bringing about positive change in areas such as cognitive development, academic performance, educational motivation and learning, socio-emotional development and behaviour, and mental health – across the life course from infants through to seniors. The special issue 'Music In The Lives Of Young Children' targets music and its significance in young children's lives with a focus on music education and the musical experience of pre-school children. The special issue is comprised of 11 articles that have been written by 32 authors (several teams of co-authors) from 10 countries (Canada, Germany, India, Israel, New Zealand, South Africa, Spain, Sweden, the United Kingdom, and the United States of America). These research studies were carried out in nine countries (Australia, Canada, Germany, India, Israel, New Zealand, South Africa, the United Kingdom, and the United States of America).

 

The special issue may be accessed here:  Early Child Development and Care: Vol 191, No 12 (tandfonline.com)

 

With kind regards,

 

Warren Brodsky & Ioulia Papageorgi (co-editors)

Fwd: Conference on Interdisciplinary Musicology, CIM22. FINAL CALL FOR PROPOSALS

FINAL CALL FOR PROPOSALS

The next Conference on Interdisciplinary Musicology, CIM22: 'Participation' will take place on 8-10 June 2022, convened by the Reid School of Music, The University of Edinburgh and the Department of Music, University of Hong Kong.

Guided by the aims of the Society for Interdisciplinary Musicology (SIM), CIM22 offers a meeting point for music researchers at the crossroads of humanities and sciences.

Keynote speakers:

Kyra Gaunt (Music & Theatre, University at Albany State University of New York, NY)
Ruth Herbert (School of Arts, University of Kent, UK)
Frederick Lau (Department of Music, The Chinese University of Hong Kong, HK)

Our theme of Participation invites cross-disciplinary reflection and dialogue across a range of current topics in music research which will benefit from the joint attention of both science and humanities expertise, to report new research from scholars and practitioners at all career stages.

Read the call for proposals in full here (https://blogs.ed.ac.uk/cim22-participation/call-for-proposals)

We particularly welcome co-authored proposals to present original interdisciplinary work in the form of regular papers, roundtable discussions, or video flash-talks. Submission deadline extended to 26 November 2021.

For more information and online proposal submission, visit the CIM22 conference website here (https://blogs.ed.ac.uk/cim22-participation/)

Contact email: ParticipationCIM22@gmail.com

Conference co-Chairs: Dr Nikki Moran, University of Edinburgh, UK | Vice-President SIM (Society for Interdisciplinary Musicology) & Dr Youn Kim, Hong Kong University

Committee includes

·       Dr Juan Loaiza - Conference assistance (Edinburgh)
·       Dr Andrea Schiavio, Karl-Franzens-Universität Graz, Austria (SIM)
·       Theresa Schallmoser, Karl-Franzens-Universität Graz, Austria (SIM)
·       Prof. Richard Parncutt, Karl-Franzens-Universität Graz, Austria (Founder, SIM)
·       Dr Maiko Kawabata, Royal College of Music, London, UK
·       Dr James Cook, University of Edinburgh, UK
·       Dr Morag Grant, University of Edinburgh, UK
·       Prof. Raymond MacDonald, University of Edinburgh, UK
·       Dr Katie Overy, University of Edinburgh, UK

Out today... Sarangi Style in Hindustani Music

Dear colleagues and friends,

On behalf of the International Music Education Research Centre (iMerc) Press, I am delighted to announce the publication of Sarangi Style in Hindustani Music by Dr Nicolas Magriel.

This is an absolutely monumental (614 pp.) volume dedicated to the Sarangi, the main bowed instrument of Hindustani music.

The Sarangi has three gut melody strings that are stopped by the left-hand cuticles or the skin above the nails. Around 36 sympathetic strings give a haunting echo. Traditionally the sarangi's public role has been to provide melodic accompaniment for vocal music, but its players have always practised and performed solo sarangi in their homes and at musicians' gatherings. The constraints posed by the sarangi's unusual construction and technique have given birth to a unique instrumental manifestation of vocal music.

This beautifully illustrated book attempts to answer these questions: What is sarangi music? In what ways does it reflect or differ from the vocal music on which it is based? In what ways do the unique features of the sarangi and its technique affect its capacity to emulate vocal music? The approach is empirical, supported by extensive sargam transcription and analysis of video-recorded music and informed by the author's fifty years of experience as a student, performer and teacher of the sarangi and Hindustani vocal music. The discussion is supplemented by around 170 online video files and 555 audio examples. Most of these materials are supplied in both normal-speed and half-speed versions.

Due to the difficulty of its technique and to the lingering stigma of its historical association with courtesan culture, the sarangi declined in popularity throughout the twentieth century. Many sarangi players became vocalists; several of the most influential Hindustani vocalists of the twentieth century came from the sarangi tradition. Hence there is a wider relevance in enquiring into the nature of vocal music as taught and performed by sarangi players.

There is much here to engage those interested in musical style and musical enculturation. And there is much that will be of practical value to students of Hindustani music, especially sarangi players, including information about the sarangi's history, construction and maintenance. Organological appendices include images and discussion of 321 sarangis. This book also gives a rare glimpse into the home life and cloistered musicianship of hereditary sarangi players.

Please feel free to circulate this information amongst your ethnomusicological circles, colleagues and friends and also use the following links on the various Amazon stores, globally.

Amazon USA: https://www.amazon.com/dp/1905351399

Amazon UK: https://www.amazon.co.uk/dp/1905351399

Amazon Germany: https://www.amazon.de/dp/1905351399

With best wishes,

Evangelos

Dr Evangelos Himonides, FRSA, FBCS CITP

Professor of Technology, Education, and Music

University College London

Fwd: ICDS5: Feelings before the conference!

Dear Colleagues,

We are very excited to announce that in 11 days the 5th International Conference of Dalcroze Studies: Dalcroze practice in diverse cultures, communities and contexts will begin!

For this occasion, our wonderful keynotes - Nicholas Rowe, Liesl van der Merwe and Kathryn Kay - shared their reflections on the upcoming conference. Please visit our website to read more about how they feel before the first online ICDS5 ever!

Rosalind Ridout joins the ICDS Team!

We are happy to announce that Rosalind Ridout has become the first ever Student Member of the Scientific Committee. Rosalind will hold this position for the next 2 years starting from 22 October 2022. She is a performer, flautist, educator and researcher whose interest in ecology runs through her work. A music graduate of the University of Cambridge, Rosalind previously spent a year studying flute at the Guildhall School of Music, and went on to complete her Masters' at the Royal Northern College of Music as an ABRSM scholar, graduating with distinction. She is now a doctoral candidate at the Royal Northern College of Music, where she is researching her cultivation of an eco-literate artistic and teaching practice within the context of Dalcroze Eurhythmics. 

Rosalind shared her reflections after being nominated to this position: I am delighted to be appointed Student Member of the Scientific Committee and to be part of facilitating future Dalcroze-related events. I am looking forward to engaging with and learning further from the expertise of the committee, and to expanding and developing my involvement within the research community.

2022 National Conference "Together"

On behalf of the Dalcroze Society of America we would like to invite you to participate in 2022 National Conference "Together", which takes place on January 14 - 16 at Baldwin Wallace University in Barea, Ohio (USA). Registration for this event is open by January 14, 2022.

More information available on: www.dalcrozeusa.org/events/conference/

Registration for the ICDS5 is closed

The registration for the ICDS5 is closed. We would like to thank all of you who have registered to the conference. If you don't want to miss the next conferences, please subscribe to our website and follow Dalcroze Studies on Facebook, Twitter and LinkedIn.

With warm regards

The ICDS Team

International Conference of Dalcroze Studies (ICDS)

Researching into music and movement, in education, the arts and humanities, and the social, health and life sciences.

www.dalcroze-studies.com 

--

International Conference of Dalcroze Studies (ICDS)

Researching into music and movement, in education, the arts and humanities, and the social, health and life sciences.

www.dalcroze-studies.com 

Fwd: [DMRN-LIST] CFP: EURASIP JASMP - Special Issue on Recent Advances in Computational Sound Scene Analysis

EURASIP Journal on Audio, Speech and Music Processing

Special issue on
Recent advances in computational sound scene analysis
Submission Deadline: 1st April 2022
https://asmp-eurasipjournals.springeropen.com/ssoundscene


Topics of interest include but are not limited to:

• Methodology: signal processing, machine learning, auditory perception, taxonomies, and ontologies related to sound scenes and events
• Tasks and applications: acoustic scene classification, sound event detection and localization, sound source separation, audio tagging, audio captioning, detection of rare sound events, anomaly audio event detection, computational bioacoustic scene analysis, urban soundscape analysis, and cross-modal analysis (e.g. audio recognition/analysis with information from video, texts, image, language, etc.)
• Machine learning methodologies for sound scene analysis: self-supervised learning, few-shot learning, meta-learning, generative models, explainable machine learning, continual learning, curriculum learning, active learning, multi-task learning, and attention mechanisms
• Human-centered sound scene analysis: human-computer interaction and interfaces, user-centered evaluation, visualization of audio events and scenes, and user annotation
• Evaluation, datasets, software tools, and reproducibility in computational sound scene and event analysis
• Ethics and policy: legal and societal aspects of computational sound scene analysis; ethical and privacy issues related to designing, implementing and deploying sound scene analysis systems; privacy-preserving sound scene analysis; federated learning for sound scene analysis
• Performance metrics: studies for developing effective evaluation metrics and tools for related tasks in audio scene analysis, event detection, and audio tagging
  

The EURASIP Journal on Audio, Speech, and Music Processing recognizes novel contributions of the following types within its area:

• Empirical Research: Data-driven research, new experimental results, and new data sets
• Methodology: New theory and methods for the processing of speech, audio, and music signals
• Software: New software implementations and toolboxes for speech, audio, and music processing
• Review: Timely and comprehensive overview and tutorial material covering recent developments within the field
  

Submission instructions:
https://asmp-eurasipjournals.springeropen.com/submission-guidelines


Guest Editors:
Jakob Abeßer, Fraunhofer IDMT, Germany
Emmanouil Benetos, Queen Mary University of London, UK
Annamaria Mesaros, Tampere University, Finland
Wenwu Wang, University of Surrey, UK

A Song for Afghanistan

Afghanistan has always been a place of rich and diverse cultural heritage, including musical practice. Since 2010, the Afghanistan National Institute of Music (https://www.anim-music.org/) has worked tirelessly to rebuild and revitalise Afghanistan's cultural voice in the face of intense political upheaval, war, conflict and censorship. Through investing in young musicians and transcending cultural, ethnic, religious, and gendered boundaries, ANIM has honoured the musical heritage that is dear to the heart of every Afghan and contributes towards a just and civil society.  

 

Once again, musicians are facing silencing and oppression under Taliban rule, and SEMPRE stands in solidarity with all artists, educators, scholars, and cultural actors across Afghanistan.  

 

Supporting an international concert series, Love Songs for Afghanistan, initiated by the Queensland Conservatorium, Griffith University Australia (https://www.griffith.edu.au/arts-education-law/queensland-conservatorium), SEMPRE (https://sempre.org.uk) joins the call for artistic freedom and peace, bringing together musicians from across national borders, cultural or linguistic backgrounds, and musical styles, to send to Afghanistan our messages of peace, compassion, courage, and above all else, love.   

 

To watch the first concert livestream (28 September, 19:00 Brisbane time): https://www.youtube.com/watch?v=75BCnJEHUsU

To host a Love Songs event at your institution, email: alexis.kallio(a)griffith.edu.au

Fwd: Calls for Abstracts - International Music Therapy Week Conferences

We are happy to introduce International Music Therapy Week 2022, organised in collaboration with the University of Jyväskylä, the Finnish Society for Music Therapy, and HUS Helsinki University Hospital, Child Psychiatry, University of Helsinki. This week of events is not to be missed, and will host two back-to-back international music therapy conferences! The 1st International Conference on Children's Music Therapy: "Health for Children with Music", from April 26-27, and The 10th Nordic Music Therapy Conference: "Music Therapy - Adapting Approaches for Health", from April 28-30, 2022. 

After postponing these events last spring, organisers are excited to announce new dates for International Music Therapy Week (April 25-30, 2022), and a beautiful new venue at Scandic Marina Congress Center, in Helsinki, Finland. 

In consideration for the new conference dates, both conferences have briefly opened calls for abstracts once more, open until October 6, 2021! To accommodate travel restrictions, hybrid options for presenters are available! 

More information can be found on each conference website:

International Conference on Children's Music Therapy

Nordic Music Therapy Conference 

Please share with your networks! 

We look forward to welcoming you to Helsinki in April. 

Sincerely,

Mikaela Leandertz

Chair, NMTC 2022 Organising Committee

Esa Ala-Ruona

Chair, NMTC 2022 Scientific Committee 

Hanna Hakomäki

Chair, Children's Music Therapy Conference

Jaakko Erkkilä 

Co-Chair, Children's Music Therapy Conference

Fwd: [DMRN-LIST] NIME 2022 - Decolonising Musical Interfaces - Call for papers, music, installations, demos, workshops and doctoral consortium

NIME New Interfaces for Musical Expression 2022

 

28 June – 1 July 2022

Online conference

 

Organised by: Waipapa Taumata Rau (The University of Auckland), Aotearoa (New Zealand)

 

nime2022.org

 

Theme: Decolonising Musical Interfaces

In the last few editions of the NIME conference, an increasing number of publications and artistic work has been identifying, challenging, and addressing the hegemonic cultural and ideological perspectives in the work that we make. The theme of the NIME 2022 has been chosen to encourage further theoretical and artistic submissions based on and pushing for epistemologies and methodologies other than traditional Western empiricism. This theme is inspired by the rising commitment in the host country of NIME 2022, Aotearoa New Zealand, to develop decolonial methodologies that reassess the value of Indigenous ontologies and epistemologies. Decolonisation also involves rethinking the Western imaginary of technological innovation, central in music technology. What is innovation at NIME? What is the N in NIME? What values are we ready to trade off for the sake of innovation? In addition to encouraging submissions that offer alternative knowledge systems, we further embedded the decolonisation theme in the structure of the conference. A mentorship program will assist researchers from under-represented communities, and the Call for Music is also open to performances with old NIMEs, to resist narratives of technological innovation.

 

Important submission dates

• 22 January 2022: Paper, music, installation, workshop submission deadline
• 31 January 2022: Final submission upload deadline (no extension)
• 1 April 2022: Demo, doctoral consortium submission deadline

 

Submission categories

• Papers
• Music
• Installations
• Demos
• Workshops
• Doctoral Consortium

 

 

Call for Papers

Topics

Original contributions are encouraged in, but not limited to, the following topics:

• Approaches on decolonising music and musical interfaces 
• Studies or reviews of non-Western musical epistemologies and pedagogies
• Novel controllers, interfaces or instruments for musical expression
• Augmented, embedded and hyper instruments
• Technologies or systems for collaborative music-making
• Discussions about the artistic and cultural impact of NIMEs
• Reflections on the ethical, environmental, societal, and political impact of NIMEs
• Critical analysis of existing commercial, academic or artistic NIME practice
• Historical, theoretical or philosophical discussions about designing or performing with NIMEs
• Easier/cheaper approaches to the design of bespoke and customizeable accessible instruments
• Strategies that improve the reach and replicability of one-off accessible instrument projects, particularly those that are unlikely to have full commercial potential
• Musical interfaces designed by/with disabled/neurodiverse musicians
• Practice-based research approaches/methodologies/criticism
• Music-related human-computer interaction
• User studies and evaluations of NIMEs
• Interactive sound art and sound installations
• New music performance paradigms
• Gesture to sound mapping
• Sonic interaction design
• Musical robotics
• Sensor and actuator technologies for NIMEs
• Interface protocols and data formats supporting musical interaction
• Machine learning and artificial intelligence in NIMEs
• Pedagogical perspectives and/or student projects in NIME-related courses

 

Submission types

We welcome submissions in the following categories:

• Full paper (up to 5000 words in proceedings, optional demo)
• Short paper (up to 3000 words in proceedings, optional demo)

The word count is for the article's main text. It does not include title, abstract, acknowledgment, ethics statement, references, or appendices. Presentation formats (talks, posters and demos) will be announced later and will be similar for full and short papers.

 

Paper submission template

Additional information and the Paper submission template can be found here.

 

Paper review process

All paper submissions will be subjected to a rigorous double-blind peer review process by an international committee of experts. All of the submitted papers should demonstrate rigorous research methodology and will be evaluated according to the following criteria: novelty, academic quality, appropriateness of topic, importance, readability, ethical standards, and paper organization. Authors should also familiarize themselves with the NIME statements on diversity, environmental, and ethical issues.

 

 

Call for Music

Submission types

This year, there are two different calls for music and selected pieces will be performed at two different concerts.

• "New NIME" - traditional NIME music submission aimed at showcasing pieces performed or composed with new interfaces for musical expression.

• "NIME with a story" - dedicated to NIMEs that have been presented before. This includes new pieces for interfaces that have been previously presented at NIME or outside of NIME. This option was developed for the following objectives. First, in alignment with the theme of NIME 2022 decolonising NIME, it promotes a vision of technology-mediated music practice that is focused on the actual cultural practice of making music rather than the technological innovation. It also challenges consumeristic ideologies or innovation for innovation sake. Second, It aims to mitigate the environmental impact of the creation of a new NIME by fostering a culture of reusing rather than disposing. Third, it promotes replicability of NIMEs, following the numerous debates that took place at NIME 2021 on replicability and documentation of NIMEs.

 

Music submission template

Additional information and the Music submission template can be found here.

 

Music review process

All music submissions will be evaluated according to the following criteria: artistic and academic quality, appropriateness of topic, and ethical standards. Authors should also familiarize themselves with the NIME statements on diversity, environmental, and ethical issues.

 

 

Call for Installations

Submission information

We invite submissions of art installations on New Interfaces for Musical Expression. Given the online format of NIME 2022, accepted proposals will be exhibited online.

 

Installation submission template

Additional information and the Installation submission template can be found here.

 

Installation review process

All installation submissions will be evaluated by a review panel according to the following criteria: originality, impact, creativity, technique, presentation, and feasibility. Upon acceptance, artists of accepted works will be asked:

• to provide a video of their installation for online presentation along with additional supporting material if required, e.g., thumbnails, programme note, etc.
• if they wish to participate in an optional artists discussion panel as a part of the conference.

Authors should also familiarize themselves with the NIME statements on diversity, environmental, and ethical issues. Documentation of the installations will be available online after the conference.

 

 

Call for Demos

Submission information

We welcome the submission of proposals for late breaking demonstrations to showcase works in progress, proof of concept NIMEs, and early prototypes that may not be ready or appropriate for submission as a full or short paper. This category is especially suitable for submissions by people new to NIME, or those who are in the early stages of research and would benefit from feedback from the NIME community. Submissions are encouraged in, but not limited to, the main conference theme "Decolonising musical interfaces", as well as any of the topics listed in the Call for Papers. As NIME 2022 will take place as a virtual conference, this presents a challenge to the traditional "hands-on" demonstration sessions that have been a part of previous editions. Thus, we urge people to consider unique ways to present a demonstration interactively with remote attendees. This could include web-based components that permit distributed control of a remote or virtual instrument during the session, or providing downloadable interactive versions of a NIME or other technology. Please note that a demo submission is not a conference paper, however the abstract will appear in the conference program and official proceedings.

 

Demo submission template

Additional information and the Demo submission template can be found here.

 

Demo review process

All demo submissions will be evaluated by a review panel according to the following criteria: originality, impact, creativity, technique, presentation, and feasibility. Those submitting should also familiarize themselves with the NIME statements on diversity, environmental, and ethical issues.

 

 

Call for Workshops

Submission information

NIME 2022 welcomes the submission of workshop proposals. These proposals may take the form of tutorials on specific NIME topics or forums for discussion and development. Typical NIME workshops have been from two hours to a full day in length. We encourage authors to address time zone diversity and hybrid presentation in their proposal (e.g., through repeated or asynchronous content). Accepted workshop submissions will be required to create a simple website for communication with their participants independently from the main conference website (e.g., using free services such as GitHub Pages or Google Sites). We encourage submissions to include a draft website if they would like.

Examples of past workshop websites are:

https://critical-ml-music-interfaces.github.io/

https://diversity.nime.org/nime-2021-workshop/home

 

Workshop submission template

Additional information and the Workshop submission template can be found here.

 

Workshop review process

Workshops will be curated by the Workshop co-chairs and associated review committee, based on the Workshop proposal's relevance to the NIME conference and conference theme, and feasibility. As a result, the feedback on these curated acceptances and rejections will be limited. Workshop proposal submissions are not anonymous.

 

 

Call for Doctoral Consortium

Submission information

Established for the first time in this conference edition, the NIME 2022 Doctoral Consortium gives an opportunity for PhD students to discuss, perform, or demo their research. We welcome applications from students who would like to receive feedback from the NIME community on their conceptual, theoretical, technical and/or musical research components, and participate to an open discussion among peer students and senior scientists, interaction designers and computer musicians. Ideal candidates will be early-stage or mid-way through their program, presenting some concrete research content within the NIME topics yet with no conclusive achievements already at hand. Candidates should clearly explain their contribution to the Doctoral Consortium as well as the expected benefit from participating to it.

 

Doctoral Consortium submission template

Additional information and the Doctoral Consortium submission template can be found here.

 

Doctoral Consortium review process

The Doctoral Consortium committee will review and select a limited number of candidates via a curation process that considers the quality of their work, and its possibilities to contribute to the creation of a multidisciplinary, diverse, balanced and ethical discussion forum furthermore highly profitable for the participants. Duplicated material submitted also to other NIME calls will be immediately rejected from the Doctoral Consortium. If accepted, based on your proposal, we will ask you to design a multimedia poster to both contribute to a live consortium discussion and virtual poster at the NIME conference. Each poster can include performances, demo, design, etc. The Doctoral Consortium will run the day before the beginning of the main conference, on June 27th, with the Chairs actively participating to the event. Please note that the final posters won't be published in the NIME proceedings.

 

 

Keynote speakers

• Khyam Allami
• Rekka Bellum & Devine Lu (Hundred Rabbits)
• Sally Jane Norman

 

 

Organising committee

• General Co-Chairs: Fabio Morreale (Waipapa Taumata Rau, The University of Auckland) & Sasha Leitman
• Paper Co-Chairs: Andrew McPherson (Queen Mary University of London) & Emma Frid (IRCAM/KTH Royal Institute of Technology)
• Music Chair: Raul Masu (Universidade NOVA de Lisboa)
• Poster & Demo Co-Chairs: Johnny Sullivan (McGill University) & Diana Siwiak (Te Herenga Waka, Victoria University of Wellington)
• Workshop Co-Chairs: Doga Cavdir (Stanford University) & Charles Martin (The Australian National University)
• Installations Co-Chairs: Meg Schedel (Stony Brook University) & Paul Dunham (Te Herenga Waka. Victoria University of Wellington)
• Doctoral Consortium Co-Chairs: Cécile Chevalier (University of Sussex) & Federico Fontana (University of Udine)
• Virtual & Hybrid Chair: Astrid Bin (Ableton)
• Sponsor Chair: Robert Jack (Bela)

 

Chairs' contact details are available on the NIME 2022 website.

Fwd: Faders - online, collaborative, smart DAW

Dear colleagues, 

We're proud to present the result of our spin-out from Birmingham City University: an online, collaborative, intelligent digital audio workstation (DAW) that's free to use and getting even more features every week: https://faders.io. 

Faders is built around the idea of removing all barriers in audio production, without hiding the complexity and dumbing down the interface. The result is a user-friendly, powerful, and smart DAW, which helps you by labelling tracks, doing rough mixes, trimming silence from recordings, … and a collaborative web-based platform that can accommodate cutting-edge processors that don't have to fit a single track "plugin" for DAWs. 

Synth and FX plugins are based on the open source JSAP framework https://github.com/nickjillings/JSAP, and a Freesound browser is integrated https://freesound.org/. Some of the tech in this platform is based on about a decade of academic research. 

It would mean a lot to us if you tried it out and let us know what you think, emailing me directly or on the forum at https://community.faders.io. 

Educators: we are especially keen to work with you and will be releasing an education mode where you can share files, follow up on student projects, and even teach remotely with video, all inside Faders. 

Please reach out to me if you tried it (I'd love to hear your thoughts) or if you want to use it for a class. We're also exploring all kinds of partnerships, from software instruments over plugin development to cross-promotion.

Thanks!

Brecht De Man
Ryan Stables
Nicholas Jillings

Semantic Audio Labs