Audium Keeps Experimental Sounds Flowing with ‘New Voices III’
‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s
It's a New Era for Audium, San Francisco's 'Theater of Sound'
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"content": "\u003cfigure id=\"attachment_13984512\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-1-Photo-by-Somaly-Son.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13984512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-1-Photo-by-Somaly-Son.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-1-Photo-by-Somaly-Son-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-1-Photo-by-Somaly-Son-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-1-Photo-by-Somaly-Son-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pat Mesiti-Miller composing on Audium’s immersive, surround-sound theater. \u003ccite>(Somaly Son)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The future arrives as a whisper: “I see a world where everyone eats.”\u003c/p>\n\u003cp>I turn instinctively toward the sound, but the room is pitch black. Inside the circular chamber of this theater, obscured somewhere in the darkness, another whisper brushes past me from the opposite direction: “I see a world where we respond to harm with care.” Then another, and another. Within seconds, I’m surrounded by dozens of voices imagining the world they wish existed – all of them sending chills down my spine.\u003c/p>\n\u003cp>This is \u003ci>1000 Whispers From Our Future\u003c/i>, a project from Oakland artist \u003ca href=\"https://www.patmesiti-miller.com/\">Pat Mesiti-Miller\u003c/a> which more than earns its name. The program, based on the prison system, runs Dec. 4–Jan. 3 at the immersive San Francisco venue Audium.\u003c/p>\n\u003cp>“What’s important to know is that this is not a project that’s strictly about the carceral system,” Mesiti-Miller says during a recent visit to Audium. “It’s more explicitly about an oppressive system at large, and a carceral system is an example of that.”\u003c/p>\n\u003cfigure id=\"attachment_13984591\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1000WhispersWorkshop-2-0048.jpg\" alt=\"\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13984591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1000WhispersWorkshop-2-0048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1000WhispersWorkshop-2-0048-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1000WhispersWorkshop-2-0048-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1000WhispersWorkshop-2-0048-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/1000WhispersWorkshop-2-0048-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Pat Mesiti-Miller (standing, at left) leads a workshop at Jerusalem Coffee House. \u003ccite>(Jacquelyn Serrano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The piece is rooted in Mesiti-Miller’s decade-plus of work inside San Quentin and other California prisons, ranging from serving as producer and sound designer for the Peabody and Pulitzer Prize nominated podcast \u003ca href=\"https://www.earhustlesq.com/\">Ear Hustle\u003c/a> to helping with the San Quentin Film Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, he’s spent years capturing the confining sounds of the prison system and how its structure functions to take one’s freedom away. Pulling from his archive of recordings for \u003ci>1000 Whispers\u003c/i> — a 45 minute-long piece presented in complete darkness through the 176 speakers of Audium’s surround-sound theater — Mesiti-Miller reconstructs a physical and emotional landscape that’s both immersive and unsettling.\u003c/p>\n\u003cp>“Part of focusing on the physical sounds is wanting people to look critically at this apparatus that exists,” he explains. “If it starts there, and we can see it localized on a prison site, [we ask] ‘Where does it start and where does it end? \u003ci>Does\u003c/i> it end?’ That’s the question I want people to walk away with.”\u003c/p>\n\u003cfigure id=\"attachment_13984513\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pat Mesiti-Miller at Audium. \u003ccite>(Somaly Son)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To bring \u003ci>1000 Whispers\u003c/i> to life, Mesiti-Miller invited participants to imagine the world they want to live in, recording their responses as whispers. These whispered visions are central to the project; unlike a steady, commanding voice, a whisper demands close attention. \u003c/p>\n\u003cp>Captured from hundreds of participants across community gatherings in the Bay Area, the recordings reveal a striking honesty and generosity of spirit. Each whisper reflects a deeply felt yearning for a world more humane, compassionate and interconnected.\u003c/p>\n\u003cp>[aside postID='arts_13978433']“One of the things that I’ve found from the recordings was just how incredibly honest, incredibly heartfelt and genuine everyone was,” Mesiti-Miller said. While listening back to them, “I was overwhelmed — it was such a beautiful snapshot, a glimpse into people’s hearts.”\u003c/p>\n\u003cp>In this way, the whispers serve as a counterpoint to the loud, oppressive sounds of confinement. Layering the words of participants with original music, Mesiti-Miller creates a soundscape that moves between the harsh realities of oppression and the possibility of a more caring, connected world.\u003c/p>\n\u003cp>“We need to imagine new systems, and we have the capacity to do that,” he says. “Oftentimes our mind is stuck on what’s here, what’s now, and how do we stop it or how do we break it down? That’s all important and necessary. But it’s also necessary to imagine new things, and to share those visions with each other — and to build towards those together.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘1000 Whispers From Our Future’ runs Thursdays–Saturdays through Jan. 3 at Audium (1616 Bush St., San Francisco). \u003c/i>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, he’s spent years capturing the confining sounds of the prison system and how its structure functions to take one’s freedom away. Pulling from his archive of recordings for \u003ci>1000 Whispers\u003c/i> — a 45 minute-long piece presented in complete darkness through the 176 speakers of Audium’s surround-sound theater — Mesiti-Miller reconstructs a physical and emotional landscape that’s both immersive and unsettling.\u003c/p>\n\u003cp>“Part of focusing on the physical sounds is wanting people to look critically at this apparatus that exists,” he explains. “If it starts there, and we can see it localized on a prison site, [we ask] ‘Where does it start and where does it end? \u003ci>Does\u003c/i> it end?’ That’s the question I want people to walk away with.”\u003c/p>\n\u003cfigure id=\"attachment_13984513\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Pat-In-Space-3-Photo-by-Somaly-Son-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pat Mesiti-Miller at Audium. \u003ccite>(Somaly Son)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To bring \u003ci>1000 Whispers\u003c/i> to life, Mesiti-Miller invited participants to imagine the world they want to live in, recording their responses as whispers. These whispered visions are central to the project; unlike a steady, commanding voice, a whisper demands close attention. \u003c/p>\n\u003cp>Captured from hundreds of participants across community gatherings in the Bay Area, the recordings reveal a striking honesty and generosity of spirit. Each whisper reflects a deeply felt yearning for a world more humane, compassionate and interconnected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“One of the things that I’ve found from the recordings was just how incredibly honest, incredibly heartfelt and genuine everyone was,” Mesiti-Miller said. While listening back to them, “I was overwhelmed — it was such a beautiful snapshot, a glimpse into people’s hearts.”\u003c/p>\n\u003cp>In this way, the whispers serve as a counterpoint to the loud, oppressive sounds of confinement. Layering the words of participants with original music, Mesiti-Miller creates a soundscape that moves between the harsh realities of oppression and the possibility of a more caring, connected world.\u003c/p>\n\u003cp>“We need to imagine new systems, and we have the capacity to do that,” he says. “Oftentimes our mind is stuck on what’s here, what’s now, and how do we stop it or how do we break it down? That’s all important and necessary. But it’s also necessary to imagine new things, and to share those visions with each other — and to build towards those together.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘1000 Whispers From Our Future’ runs Thursdays–Saturdays through Jan. 3 at Audium (1616 Bush St., San Francisco). \u003c/i>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1970, Stan Shaff and Douglas McEachern bought a building in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> with a vision to choreograph sound.\u003c/p>\n\u003cp>For five years, they tinkered with the former donut shop’s layout and design, testing different kinds of audio speakers and acoustic treatments. And in 1975, they formally opened their final version of Audium, a sound theater \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">known today\u003c/a> for its dark inner sanctum and 176 speakers dispersed over the walls, ceiling and floor.\u003c/p>\n\u003cp>To celebrate Audium’s 50th anniversary on Bush Street this summer, Dave Shaff, the director of Audium and son of founder Stan Shaff, is reviving \u003cem>Audium VI\u003c/em>, the very first tape piece for the space, created by his father, that will run as an immersive, in-the-dark experience every weekend between mid-July and August. \u003c/p>\n\u003cfigure id=\"attachment_13978439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Construction in the early 1970s transformed the former Stempel’s donut shop on Bush Street to Audium as it’s known today. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Audium experience goes much deeper than simply listening to prerecorded music. “There is a performance,” Shaff says, “and that’s the movement of the sound, literally like the choreography of taking the sound and moving it from one speaker to another.” \u003c/p>\n\u003cp>When the lights go out, “you’ve got nowhere else to go but inside yourself,” says Shaff. The sounds bouncing around the room tend to bring up memories, ideas and fantasies, he says, adding that “it kind of touches the subconscious.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the \u003cem>Audium VI\u003c/em> performances, Audium’s lobby space will display archival ephemera: an old desk with the writings of Stan Shaff, a telephone that plays a surprise recording when listeners hold it up to their ear, the old analog control board from the 1970s and even the original studio four-track tape machine used for shows. \u003c/p>\n\u003cfigure id=\"attachment_13978440\" class=\"wp-caption aligncenter\" style=\"max-width: 1513px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg\" alt=\"\" width=\"1513\" height=\"2000\" class=\"size-full wp-image-13978440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg 1513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-1162x1536.jpg 1162w\" sizes=\"auto, (max-width: 1513px) 100vw, 1513px\">\u003cfigcaption class=\"wp-caption-text\">A schematic from the original plans for Audium. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a lot of memories,” Shaff says about working with the archive. He described the process as “almost too personal.”\u003c/p>\n\u003cp>“It’s discovering, like, some parts of my parents and their own personal lives,” says Shaff, “I’ll hear them talking to each other on the tape at points, as younger adults.”\u003c/p>\n\u003cp>\u003cem>Audium VI\u003c/em> was composed 10 years before Shaff was born. He describes it as “pretty funky” and “out of the bounds of ordinary” — but he also resisted the urge to clean up the experimental composition’s rough edges. \u003c/p>\n\u003cp>“Dad liked to throw a lot of sounds at his audience,” says Shaff. “He’s like Jackson Pollock, you know, the painter that just threw paint on the canvas, except he’s throwing sounds.” \u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sounds could include electronic noises, field recordings from nature, melodic passages, fog horns and freight trains. In 2022, the resident artist Victoria Shen called Audium “\u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">one of the last cool, weird, old-school things in San Francisco\u003c/a>.”\u003c/p>\n\u003cp>The mission for Audium now, Shaff says, is to keep a little bit of that soul of San Francisco alive, while modernizing it for the present day. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Audium VI: Rewind’ runs July 11–Aug. 23 at Audium in San Francisco. \u003ca href=\"https://www.audium.org/audium-vi-rewind/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1970, Stan Shaff and Douglas McEachern bought a building in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> with a vision to choreograph sound.\u003c/p>\n\u003cp>For five years, they tinkered with the former donut shop’s layout and design, testing different kinds of audio speakers and acoustic treatments. And in 1975, they formally opened their final version of Audium, a sound theater \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">known today\u003c/a> for its dark inner sanctum and 176 speakers dispersed over the walls, ceiling and floor.\u003c/p>\n\u003cp>To celebrate Audium’s 50th anniversary on Bush Street this summer, Dave Shaff, the director of Audium and son of founder Stan Shaff, is reviving \u003cem>Audium VI\u003c/em>, the very first tape piece for the space, created by his father, that will run as an immersive, in-the-dark experience every weekend between mid-July and August. \u003c/p>\n\u003cfigure id=\"attachment_13978439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Construction in the early 1970s transformed the former Stempel’s donut shop on Bush Street to Audium as it’s known today. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Audium experience goes much deeper than simply listening to prerecorded music. “There is a performance,” Shaff says, “and that’s the movement of the sound, literally like the choreography of taking the sound and moving it from one speaker to another.” \u003c/p>\n\u003cp>When the lights go out, “you’ve got nowhere else to go but inside yourself,” says Shaff. The sounds bouncing around the room tend to bring up memories, ideas and fantasies, he says, adding that “it kind of touches the subconscious.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the \u003cem>Audium VI\u003c/em> performances, Audium’s lobby space will display archival ephemera: an old desk with the writings of Stan Shaff, a telephone that plays a surprise recording when listeners hold it up to their ear, the old analog control board from the 1970s and even the original studio four-track tape machine used for shows. \u003c/p>\n\u003cfigure id=\"attachment_13978440\" class=\"wp-caption aligncenter\" style=\"max-width: 1513px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg\" alt=\"\" width=\"1513\" height=\"2000\" class=\"size-full wp-image-13978440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg 1513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-1162x1536.jpg 1162w\" sizes=\"auto, (max-width: 1513px) 100vw, 1513px\">\u003cfigcaption class=\"wp-caption-text\">A schematic from the original plans for Audium. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a lot of memories,” Shaff says about working with the archive. He described the process as “almost too personal.”\u003c/p>\n\u003cp>“It’s discovering, like, some parts of my parents and their own personal lives,” says Shaff, “I’ll hear them talking to each other on the tape at points, as younger adults.”\u003c/p>\n\u003cp>\u003cem>Audium VI\u003c/em> was composed 10 years before Shaff was born. He describes it as “pretty funky” and “out of the bounds of ordinary” — but he also resisted the urge to clean up the experimental composition’s rough edges. \u003c/p>\n\u003cp>“Dad liked to throw a lot of sounds at his audience,” says Shaff. “He’s like Jackson Pollock, you know, the painter that just threw paint on the canvas, except he’s throwing sounds.” \u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sounds could include electronic noises, field recordings from nature, melodic passages, fog horns and freight trains. In 2022, the resident artist Victoria Shen called Audium “\u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">one of the last cool, weird, old-school things in San Francisco\u003c/a>.”\u003c/p>\n\u003cp>The mission for Audium now, Shaff says, is to keep a little bit of that soul of San Francisco alive, while modernizing it for the present day. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Audium VI: Rewind’ runs July 11–Aug. 23 at Audium in San Francisco. \u003ca href=\"https://www.audium.org/audium-vi-rewind/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Audium Keeps Experimental Sounds Flowing with ‘New Voices III’",
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"content": "\u003cp>From its outward appearance, \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>, a one-of-a-kind theater on San Francisco’s Bush Street, is fairly nondescript. But then again, so is Mary Poppins’ magical carpet bag. Inside both, we get infinite possibilities of imaginative space. Mary’s medium is delight. Audium’s is sound.\u003c/p>\n\u003cp>As Audium’s David Shaff \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">told KQED\u003c/a> in 2022: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cp>[aside postID='arts_13951535']For decades, Audium was programmed by David’s father, Stan Shaff, who founded the space with Doug McEachern in 1967 (it moved to its current 49-seat theater in 1975). In 2018, the younger Shaff took the reins, opening the theater up to new composers, new sounds and — in all likelihood — new audiences.\u003c/p>\n\u003cp>Since 2022, Audium has hosted \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">an annual residency\u003c/a> for artists to create new pieces for the theater’s ultra-surround sound system. \u003ci>\u003ca href=\"https://www.audium.org/new-voices-iii/\">Audium: New Voices III\u003c/a>\u003c/i>, opening Feb. 8, is the culmination of the latest residency, featuring live performances of new work from three local sound artists: \u003ca href=\"https://linktr.ee/rococordova\">Roco Córdova\u003c/a>, \u003ca href=\"http://www.danishtarivero.com/index.html\">Danishta Rivero\u003c/a> and \u003ca href=\"https://www.redartifact.art/\">Makana Muanga\u003c/a>.\u003c/p>\n\u003cp>Rivero, an improviser, performer and sound artist, is best known for her solo performances as Caribay and as one half of the electro-acoustic duo \u003ca href=\"https://soundcloud.com/voicehandler\">Voicehandler\u003c/a>. At Audium, Rivero’s “Heretical Voicings” is an attempt to fuse her voice with the building itself. She promises to deliver “a resounding yes with an exclamation mark,” full of bodily sounds like “a scream, a prayer, a burp.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13940325']Córdova’s piece takes a direct look at the humanitarian crisis in Gaza, using their own voice, samples from online media and field recordings from Gaza to create a sonic experience of the war’s ongoing effects. \u003c/p>\n\u003cp>“I don’t think art should be a place of escape, but a place of confronting and opening conversations,” Córdova says in an \u003ca href=\"https://youtu.be/z_6vW5W0Gc8?feature=shared\">Audium video\u003c/a> announcing the upcoming show. \u003c/p>\n\u003cp>Muanga, too, hopes to bring audiences to a place of deeper connection. His composition, “Kukusanyika Pamoja,” includes interviews with family and friends alongside “densely synthesized landscapes.” His performances will begin with a bit of group interaction, to better prepare audience members for a collective pitch-black sonic experience. \u003c/p>\n\u003cp>“I do really want to see if it’s possible to take a group of strangers, bring them in, give them a shared experience and have them come out a community,” Muanga says.\u003c/p>\n\u003cp>And with that, Audium’s great sonic experiment continues.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Roco Córdova, Danishta Rivero and Makana Muanga perform live in ‘\u003ca href=\"https://www.audium.org/new-voices-iii/\">Audium: New Voices III\u003c/a>’ Feb. 8–March 30, 2024 at Audium (1616 Bush St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From its outward appearance, \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>, a one-of-a-kind theater on San Francisco’s Bush Street, is fairly nondescript. But then again, so is Mary Poppins’ magical carpet bag. Inside both, we get infinite possibilities of imaginative space. Mary’s medium is delight. Audium’s is sound.\u003c/p>\n\u003cp>As Audium’s David Shaff \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">told KQED\u003c/a> in 2022: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For decades, Audium was programmed by David’s father, Stan Shaff, who founded the space with Doug McEachern in 1967 (it moved to its current 49-seat theater in 1975). In 2018, the younger Shaff took the reins, opening the theater up to new composers, new sounds and — in all likelihood — new audiences.\u003c/p>\n\u003cp>Since 2022, Audium has hosted \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">an annual residency\u003c/a> for artists to create new pieces for the theater’s ultra-surround sound system. \u003ci>\u003ca href=\"https://www.audium.org/new-voices-iii/\">Audium: New Voices III\u003c/a>\u003c/i>, opening Feb. 8, is the culmination of the latest residency, featuring live performances of new work from three local sound artists: \u003ca href=\"https://linktr.ee/rococordova\">Roco Córdova\u003c/a>, \u003ca href=\"http://www.danishtarivero.com/index.html\">Danishta Rivero\u003c/a> and \u003ca href=\"https://www.redartifact.art/\">Makana Muanga\u003c/a>.\u003c/p>\n\u003cp>Rivero, an improviser, performer and sound artist, is best known for her solo performances as Caribay and as one half of the electro-acoustic duo \u003ca href=\"https://soundcloud.com/voicehandler\">Voicehandler\u003c/a>. At Audium, Rivero’s “Heretical Voicings” is an attempt to fuse her voice with the building itself. She promises to deliver “a resounding yes with an exclamation mark,” full of bodily sounds like “a scream, a prayer, a burp.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Córdova’s piece takes a direct look at the humanitarian crisis in Gaza, using their own voice, samples from online media and field recordings from Gaza to create a sonic experience of the war’s ongoing effects. \u003c/p>\n\u003cp>“I don’t think art should be a place of escape, but a place of confronting and opening conversations,” Córdova says in an \u003ca href=\"https://youtu.be/z_6vW5W0Gc8?feature=shared\">Audium video\u003c/a> announcing the upcoming show. \u003c/p>\n\u003cp>Muanga, too, hopes to bring audiences to a place of deeper connection. His composition, “Kukusanyika Pamoja,” includes interviews with family and friends alongside “densely synthesized landscapes.” His performances will begin with a bit of group interaction, to better prepare audience members for a collective pitch-black sonic experience. \u003c/p>\n\u003cp>“I do really want to see if it’s possible to take a group of strangers, bring them in, give them a shared experience and have them come out a community,” Muanga says.\u003c/p>\n\u003cp>And with that, Audium’s great sonic experiment continues.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Roco Córdova, Danishta Rivero and Makana Muanga perform live in ‘\u003ca href=\"https://www.audium.org/new-voices-iii/\">Audium: New Voices III\u003c/a>’ Feb. 8–March 30, 2024 at Audium (1616 Bush St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s",
"headTitle": "‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s | KQED",
"content": "\u003cp>When I first learned about the 1960s in elementary school, the peeling textbook pages and grainy documentary footage couldn’t possibly capture the time period’s full, unrestrained creativity. The decade, ripe with social change and revolution, was a booming period of experimentation — where an unfettered desire to rebel against tradition coursed through various rising subcultures. LSD-laced music and sensibilities, maximalistic and unapologetic, grew in popularity. Most of all, the ’60s were \u003ci>loud\u003c/i>, as people searched for a new sense of self and way of being. \u003c/p>\n\u003cp>In the music world, electronic musicians were also exploring in unprecedented ways. With analog equipment like oscillators, tape recorders, filters and fuzz units, composers tinkered with manmade and environmental noise to create immersive and disorienting soundscapes. The momentum of this electronic innovation soon took over the Bay Area, leading to the founding of the Center for Contemporary Music at now-defunct Mills College, the now-defunct San Francisco Tape Music Center, and the still-standing San Francisco institution known as \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>.\u003c/p>\n\u003cp>First opened in 1967, Audium is an intimate sound theater nestled between Pacific Heights and Nob Hill, where for over a half-century co-founder and musician Stan Shaff performed compositions that bounced up, down and across the dark space for curious crowds.\u003c/p>\n\u003cfigure id=\"attachment_13931064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg\" alt=\"A board is filled with different notes, brochures and notices at Audium.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-2048x1273.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1920x1194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A board sits in the lobby at Audium, filled with announcements and tidbits about the theater. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, electronic music composer \u003ca href=\"https://www.daveshaff.com/\">David Shaff\u003c/a> is both continuing and revamping his father’s legacy at Audium. When I call him, he is cleaning his trumpet as he recounts his initial reluctance in being part of the sound theater. “I was always kind of like, ‘No, Audium — that’s Dad’s thing. It’s not me,’” says Shaff. But after noticing a lack of experimental art spaces geared towards immersive, spatial sound work, he saw the importance of keeping Audium alive, both as a place to archive his father’s work and to create a collaborative environment for new musicians to work on experimental sound projects. \u003c/p>\n\u003cp>From now until July 22, Audium is presenting Shaff’s performances of \u003ca href=\"https://www.audium.org/audium-v/\">\u003ci>Audium V: Rewind\u003c/i>\u003c/a>, a reworking of a composition that his father created in 1969. The first in a new series of the senior Shaff’s digitized classic works, \u003ci>Audium V: Rewind\u003c/i> began as a puzzle. Stan Shaff’s basement contains various boxes with old tapes, and when David found one labeled “Audium V,” he set out to organize the tapes and play the mix from start to finish. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12248119']“It’s funny because Dad never was trying to preserve these things for posterity or anything like that,” says Shaff, who had to search for missing tapes and figure out an order according to each tape’s time length. It wasn’t a matter of just digging up the tapes to play together — he had to make sense of what they must have sounded like in 1969. When he had finished his work, he played the composition for his father. “He was like, ‘I don’t remember a damn thing,’” says Shaff. \u003c/p>\n\u003cp>When his father asked him who was playing on the tapes, David exclaimed: “That’s you, Dad!” Unable to remember how exactly he had composed the piece so many years ago, the senior Shaff encouraged David to make the piece his own — to transform it how he saw fit. Working on \u003ci>Audium V: Rewind\u003c/i>, then, became more than just historical preservation: it became an act of love that combined past and future, and a way to experiment with a work that was always meant to be experimented with. \u003c/p>\n\u003cp>“We have totally different technology now than when they were doing it back in the day,” says Shaff. “So it’s his work, but it’s also kind of my work as well.” \u003c/p>\n\u003cfigure id=\"attachment_13931065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg\" alt=\"Four figures huddle around a large sound sculpture. They are bathed in blue light.\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1536x1191.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1920x1488.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees surround a sound sculpture in Audium’s lobby space created by artist Ava Koohbor. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I arrive for a recent Thursday evening show, I enter a dark lobby lit by various sound sculptures made by artist \u003ca href=\"https://avakoohborarts.com/\">Ava Koohbor\u003c/a>. Twenty other people mingle in the room, wandering from object to object, before we’re ushered through a narrow pathway that leads to the main theater. Several chairs are arranged in a large circle, and my eyes struggle to adjust to the absence of light. Then the scattering of dim floor lights fades and we’re plunged into pitch-black darkness.\u003c/p>\n\u003cp>As for the performance, here are some notes I wrote:\u003c/p>\n\u003cp>\u003ci>The sound of seagulls, foghorns, it feels like you’re enshrouded in mist at the ocean.\u003c/i>\u003c/p>\n\u003cp>\u003ci>I imagine dark skies, a lighthouse. Whispering dies down, people move in their seats. \u003c/i>\u003c/p>\n\u003cp>\u003ci>There’s the sound of droplets, a leaky faucet or crack in the ceiling, plop plop plop. \u003c/i>\u003c/p>\n\u003cp>\u003ci>A machine comes to life, beeping. Whirring voraciously, the plops become violent trickles. The sounds grow louder, echoing across the entire room. \u003c/i>\u003c/p>\n\u003cp>There were times, especially in the first act, where I was overtaken with anxiety. A sound would begin as a faint murmur before it suddenly erupted in front of me. It could surge from the ground, or fall from above, moving chaotically and unpredictably. In utter darkness, I felt trapped. I even pondered crawling out of the theater just to escape all the noise. \u003c/p>\n\u003cp>[aside postID='arts_13909188']“Dad talks about how, back in the day, audiences were much less prepared for something like this,” Shaff explained to me afterward. “But even so, I feel like this work in particular is quite overwhelming even by today’s standards.”\u003c/p>\n\u003cp>Each iteration of \u003ci>Audium V: Rewind\u003c/i> is different, and Shaff adjusts his live mix based on the audience’s response. Listening for chatter or silence, Shaff will amplify and experiment with the room’s 176 speakers to jolt and stir something in attendees. The piece is not static, and each performance is just as irreplaceable as it was in 1969: a container of that exact audience’s experiences that will never again be the same. “The energy that was happening at that time in the ’60s is still resonating to this day in the Bay in various ways,” says Shaff.\u003c/p>\n\u003cp>In other words: It resonates and reverberates, glitching and warping, intertwining itself with a dynamic history that centers individuality, liberation and defying conventions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>David Shaff’s performances of ‘Audium V: Rewind’ run Thursdays, Fridays and Saturdays through July 22 at Audium in San Francisco. Tickets are $30. \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first learned about the 1960s in elementary school, the peeling textbook pages and grainy documentary footage couldn’t possibly capture the time period’s full, unrestrained creativity. The decade, ripe with social change and revolution, was a booming period of experimentation — where an unfettered desire to rebel against tradition coursed through various rising subcultures. LSD-laced music and sensibilities, maximalistic and unapologetic, grew in popularity. Most of all, the ’60s were \u003ci>loud\u003c/i>, as people searched for a new sense of self and way of being. \u003c/p>\n\u003cp>In the music world, electronic musicians were also exploring in unprecedented ways. With analog equipment like oscillators, tape recorders, filters and fuzz units, composers tinkered with manmade and environmental noise to create immersive and disorienting soundscapes. The momentum of this electronic innovation soon took over the Bay Area, leading to the founding of the Center for Contemporary Music at now-defunct Mills College, the now-defunct San Francisco Tape Music Center, and the still-standing San Francisco institution known as \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>.\u003c/p>\n\u003cp>First opened in 1967, Audium is an intimate sound theater nestled between Pacific Heights and Nob Hill, where for over a half-century co-founder and musician Stan Shaff performed compositions that bounced up, down and across the dark space for curious crowds.\u003c/p>\n\u003cfigure id=\"attachment_13931064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg\" alt=\"A board is filled with different notes, brochures and notices at Audium.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-2048x1273.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1920x1194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A board sits in the lobby at Audium, filled with announcements and tidbits about the theater. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, electronic music composer \u003ca href=\"https://www.daveshaff.com/\">David Shaff\u003c/a> is both continuing and revamping his father’s legacy at Audium. When I call him, he is cleaning his trumpet as he recounts his initial reluctance in being part of the sound theater. “I was always kind of like, ‘No, Audium — that’s Dad’s thing. It’s not me,’” says Shaff. But after noticing a lack of experimental art spaces geared towards immersive, spatial sound work, he saw the importance of keeping Audium alive, both as a place to archive his father’s work and to create a collaborative environment for new musicians to work on experimental sound projects. \u003c/p>\n\u003cp>From now until July 22, Audium is presenting Shaff’s performances of \u003ca href=\"https://www.audium.org/audium-v/\">\u003ci>Audium V: Rewind\u003c/i>\u003c/a>, a reworking of a composition that his father created in 1969. The first in a new series of the senior Shaff’s digitized classic works, \u003ci>Audium V: Rewind\u003c/i> began as a puzzle. Stan Shaff’s basement contains various boxes with old tapes, and when David found one labeled “Audium V,” he set out to organize the tapes and play the mix from start to finish. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s funny because Dad never was trying to preserve these things for posterity or anything like that,” says Shaff, who had to search for missing tapes and figure out an order according to each tape’s time length. It wasn’t a matter of just digging up the tapes to play together — he had to make sense of what they must have sounded like in 1969. When he had finished his work, he played the composition for his father. “He was like, ‘I don’t remember a damn thing,’” says Shaff. \u003c/p>\n\u003cp>When his father asked him who was playing on the tapes, David exclaimed: “That’s you, Dad!” Unable to remember how exactly he had composed the piece so many years ago, the senior Shaff encouraged David to make the piece his own — to transform it how he saw fit. Working on \u003ci>Audium V: Rewind\u003c/i>, then, became more than just historical preservation: it became an act of love that combined past and future, and a way to experiment with a work that was always meant to be experimented with. \u003c/p>\n\u003cp>“We have totally different technology now than when they were doing it back in the day,” says Shaff. “So it’s his work, but it’s also kind of my work as well.” \u003c/p>\n\u003cfigure id=\"attachment_13931065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg\" alt=\"Four figures huddle around a large sound sculpture. They are bathed in blue light.\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1536x1191.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1920x1488.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees surround a sound sculpture in Audium’s lobby space created by artist Ava Koohbor. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I arrive for a recent Thursday evening show, I enter a dark lobby lit by various sound sculptures made by artist \u003ca href=\"https://avakoohborarts.com/\">Ava Koohbor\u003c/a>. Twenty other people mingle in the room, wandering from object to object, before we’re ushered through a narrow pathway that leads to the main theater. Several chairs are arranged in a large circle, and my eyes struggle to adjust to the absence of light. Then the scattering of dim floor lights fades and we’re plunged into pitch-black darkness.\u003c/p>\n\u003cp>As for the performance, here are some notes I wrote:\u003c/p>\n\u003cp>\u003ci>The sound of seagulls, foghorns, it feels like you’re enshrouded in mist at the ocean.\u003c/i>\u003c/p>\n\u003cp>\u003ci>I imagine dark skies, a lighthouse. Whispering dies down, people move in their seats. \u003c/i>\u003c/p>\n\u003cp>\u003ci>There’s the sound of droplets, a leaky faucet or crack in the ceiling, plop plop plop. \u003c/i>\u003c/p>\n\u003cp>\u003ci>A machine comes to life, beeping. Whirring voraciously, the plops become violent trickles. The sounds grow louder, echoing across the entire room. \u003c/i>\u003c/p>\n\u003cp>There were times, especially in the first act, where I was overtaken with anxiety. A sound would begin as a faint murmur before it suddenly erupted in front of me. It could surge from the ground, or fall from above, moving chaotically and unpredictably. In utter darkness, I felt trapped. I even pondered crawling out of the theater just to escape all the noise. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Dad talks about how, back in the day, audiences were much less prepared for something like this,” Shaff explained to me afterward. “But even so, I feel like this work in particular is quite overwhelming even by today’s standards.”\u003c/p>\n\u003cp>Each iteration of \u003ci>Audium V: Rewind\u003c/i> is different, and Shaff adjusts his live mix based on the audience’s response. Listening for chatter or silence, Shaff will amplify and experiment with the room’s 176 speakers to jolt and stir something in attendees. The piece is not static, and each performance is just as irreplaceable as it was in 1969: a container of that exact audience’s experiences that will never again be the same. “The energy that was happening at that time in the ’60s is still resonating to this day in the Bay in various ways,” says Shaff.\u003c/p>\n\u003cp>In other words: It resonates and reverberates, glitching and warping, intertwining itself with a dynamic history that centers individuality, liberation and defying conventions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>David Shaff’s performances of ‘Audium V: Rewind’ run Thursdays, Fridays and Saturdays through July 22 at Audium in San Francisco. Tickets are $30. \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"headTitle": "It’s a New Era for Audium, San Francisco’s ‘Theater of Sound’ | KQED",
"content": "\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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