FUJI Acoustic Music Festival 2011
HS-8, SS-CDR200, RC-HS20PD
At the FUJI Acousmatic Music Festival, electroacoustic music known as Musique Concrete and acousmatic music is produced in performances by the composers themselves using an acousmonium, which is a three-dimensional sound system that reproduces sound using multichannel speakers to create a sonic space.
At the second festival, which was held in 2011, through performances using a mixer with both simple two-channel and eight-channel sounds, an enveloping sonic space was create using a 30-channel system with 32 speakers.
Our RC-HS20PD remote controls were used with SS-CDR1 solid-state/CD recorder for the playback of two-channel audio and HS-8 eight-channel audio recorders for the playback of eight-channel audio.
Mr. Taro Yoshihara
FUJI acousmatic music festival Director
University of Yamanashi lecturer
The FUJI acousmatic music festival program includes 15 composers who are active in the field of electroacoustic music in Japan and aboard. We have built a sound system (acousmonium) that uses 30 speaker channels to achieve three-dimensional sound reproduction. For the playback equipment, which can be called the heart of the system, we used an HS-8 for the first time.
The aligned desires of the composers and goals of the festival were to further improve the sound quality of the acoustic space and increase the audio resolution, but these were large tasks. Incorporation of the HS-8, however, allowed us to significantly achieve these goals.
In particular, for performances that take a long time, the HS-8's operation stability and the lack of any trouble under severe usage conditions for about 48 hours from the start of rehearsal to the end of the performance offer excellent reasons to think seriously about utilizing it again in the future.
Mr. Masatsune Yoshio
Showa University of Music lecturer
This time, rather than using the equipment as a recorder, I used it as a multi-track playback device. Since this use is a little different from its original purpose, I am afraid my comments might not quite be what TASCAM expects.
First of all, the sound quality is quite good. Most of the recording and playback equipment I have access to, while having become digital and more compact, seems to have also declined in audio quality compared to the analog equipment of the past. So honesty, I did not have high expectations.
When I actually heard the sound, through, I was surprised by the accurate sound output, which was true to the sound that I intended as its author. When playing back data, the RC-HS20PD remote control unit was really easy to use and being able to access the beginning of tracks quickly was good.
This time, I needed to transfer individual wav files that I had already mixed to eight channels in a DAW to the HS-8 eight-track. Once I got the basics, this process went smoothly.
With its generally high sound quality and the ability to endure continuous playback, I feel that this device is perfect for live performances using multi-track playback.
Mr. Saburo Ubukata
Until now, when introducing high-resolution multi-channel works, in consideration of sound quality, I naturally had to use computers and audio interfaces, even through they create a lot of uncertainties as playback systems. Alternatively, even through the resolution was lower, using the playback equipment available before was unavoidable in many cases. Particularly in this latter type of situation, I really felt how difficult electroacoustic music is because the output is a crucial element.
In contrast, using the HS-8 this time, all of those issues were wiped away at once for the first time. The high-resolution output with its descriptive powers recreated the sound as I had imagined it in a live setting with no discrepancies in the sound quality from when monitoring during production of the work.
The operability and solidity of the main unit and the remote control unit, as well as the stability of the system leave nothing to criticize. I could really rely on this equipment.