Spatial Sound

ADE Sound Academy

In 2014, Amsterdam Dance Event collaborated with 4DSOUND on a special programme called ADE Sound Academy, focussing on the presentation and development of inspiring new settings in music, technology and art. The program me consisted of an extensive 5-day schedule of varied masterclasses, hands-on workshops and live performances on the 4DSOUND system, involving a variety of internationally respected artists, creators and thinkers.

Central to the 5-day programme was the Spatial Sound Hack Lab, hosted by 4DSOUND, CDM, Ableton, and Liine. Twenty-five participants were selected to take part in the programme, and follow a series of public panels and workshops aimed at creating discussion and interaction around spatial sound and immersive environments. Makers, coders and hackers – alongside internationally established artists – participated in exploring the 4DSOUND system, culminating in new and exciting experiments in sound, music and performance.

As the core of the ADE Sound Academy the 4DSOUND programme represented two things. Firstly, it was the culmination of the first series of artist showcasing the 4DSOUND system, spanning from high-concept spatial sound art from legendary experimentalist Vladislav Delay and the definitive minimalist aesthetic of Berlin-based Raster-Noton imprint, through to hugely popular performances from artists like Max Cooper, with his complex and emotively charged sonic sculptures, and the dynamic, intuitive and spatially expansive club performances from Stimming.

Secondly, it was the beginning for 4DSOUND to start exploring exciting new areas around space and sound in a more interactive way - such as evolved listening culture, audience participation, and new musical interfaces to name but a few. These explorations emerged in the artist performances, were presented and discussed in our masterclass series, and ended up hacked, mashed-up, tinkered-with and finally demonstrated at the frantic – but fun – Spatial Sound Hack Lab.

‘It’s difficult to explain the effect in words, but when used properly, it allows artists to create a rich, constantly moving and evolving piece that not only sounds amazing, but also comes much closer to what sounds are like in the real world.’


‘Apocalyptically mind-blowing’