Works

Books in Turkish

Onen_SesKayit_Kitap_Kapak_500wSes Kayıt ve Müzik Teknolojileri

Audio Recording and Music Technologies (English title)

Ufuk Önen

Ninth printing published by Citlembik, Istanbul 2015

Expanded edition (8th printing) published by Citlembik, Istanbul, 2014.

Original edition published by Citlembik, Istanbul, 2007.

The first reference book in Turkish language in the fields of audio recording and music technology, used as a standard manuscript in many universities and schools throughout Turkey.

Contains 14 chapters, 12 appendices, glossary, references, index.

480 pages, 200+ photographs, tables and illustrations.

First printing: May 2007. Second printing: December 2007. Third printing: December 2008. Fourth printing: February 2010. Fifth printing: October 2011. Sixth printing: December 2012. Seventh printing: May 2013. Eight printing (revised and expanded edition): May 2014. Ninth printing: March 2016.

 

Onen-Pasinlioglu_Synth_Kitap_Kapak_500wSynthesizer Teknolojileri ve Programlama

Synthesizer Technologies and Programming (English title)

Ufuk Önen & Teoman Pasinlioglu

Second printing published by Citlembik, Istanbul, 2016

Original edition published by Citlembik, Istanbul, 2011.

5 chapters, references, index.

216 pages, 110 photographs, tables and illustrations.

 

 

miks kap-versiyon1b*.inddMiks Üzerine: Müzik Prodüksiyonlarında Miks Teknikleri ve Çeşitli Yaklaşımlar

On Mixing: Techniques and Various Approaches in Mixing Music (English title)

Ufuk Önen

Published by Citlembik, Istanbul, 2016.

Includes 15 interviews.

192 pages.

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Producer, Audio Recording Engineer and Mixer Discography

Tanerman – Bitmeyen Mücadele (2015)

[youtube www.youtube.com/watch?v=gd88fhX3788]

 

Girl in a Box – No Turning Back (2014)

[youtube http://www.youtube.com/watch?v=P1e3bzxTp1E]

 

discography_150dpi_580w_130126

 

 

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Sound Design and Mix for Film, and Visual and Interactive Media

Rock Paper Scissors (2014)

Sound Editor

RockPaperScissors

Festival de Cine de Lanzarote, Spain

 

Hunger (2013)

Sound Editor

Hunger_poster_industry_fest

Chicago Film Festival, USA, 2013
Woodstock Film Festival, USA, 2013
St. Louis International Film Festival, USA, 2013
San Francisco International Festival of Short Films, USA, 2013
Leeds International Film Festival, United Kingdom, 2013
Calgary International Film Festival, Canada, 2013
Antalya Golden Orange Film Festival, Turkey, 2013
Malatya International Film Festival, Turkey, 2013
Sleepwalkers International Film Festival, Estonia, 2013

 

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Hazy Hill

 

Hazy_Hill_Logo_110426

Hazy_Hill_1995_Classic_ON_THE_HILLS_WITH_HAZE

[scroll down for biography]

On the Hills with Haze… Forever!

Ufuk Önen – vocal/guitar (1988-2000)
Zafer Altundağ – guitar (1994-2000)
Barış Tarımcıoğlu – guitar (1988-1992)
Ekim Can Bayram – bass (1989-2000)
Mete Kuteş – drums (1992-2000)
Metin Atahan – drums (1991)
Gültekin İrengün – drums (1988-1990)
Atakan Özer – drums (1988)

 

The following is the biography from HazyHill.com as it appeared in 2000:

Hazy Hill is a four-piece Metal band, formed in Ankara in September 1988. Their first public performance was 3 months later, followed by a series of local shows. In June 1989 the band recorded a five track demo tape but due to unsatisfactory sound quality they did not release it. Later, the same year, Hazy Hill played their first major show which was in the city of Izmir in front of 1200 people.

In January 1990 Hazy Hill went into a 16-track studio and recorded their debut demo MURKY BEDLAM and the results of this recording were much more acceptable than their previous effort. Following its release in July 1990, the demo was picked up for airplays on radio stations in various countries and also on radio TRT (Turkish Radio Television) and for reviews in magazines and fanzines from all parts of the world. At that time Hazy Hill was the first Turkish Metal band to have their music heard and their name spread on the worldwide basis. The initial response to the band’s music has been very good, with critics calling them both promising and original.

Between January and July 1990 Hazy Hill played a number of shows in Ankara and Izmir to a total of several thousands of people, with one show in Istanbul, in Open-Air Theater where Jethro Tull, Duran Duran et al played, attracting a further 1000 fans. Two more dates in Izmir were to follow – one with the seminal Norwegian band Mayhem, further boosting their popularity in Turkey.

The biggest show uptil then came in May 1991 when they headlined a stadiul concert at the ODTÜ (Middle East Technical University), in front of 4000 people. In July, after playing a couple of gigs with a Dutch band in Ankara, they flew out to Austria for a one-off performance in Vienna. This one-off visit was to add further to their growing list of ground breaking achievements for a Turkish Metal band; they were the first Metal band from Turkey to play in a foreign country. Hazy Hill’s “live” success has the band hailed as Turkey’s Best Live Act of 1991 and the pioneed demo MURKY BEDLAM as the best demo tape.

September 1992 was the date for the release of their long awaited follow-up demo FAN OF YOUR FANCY. The three tracks featured on this demo displayed a new maturity in the band’s songwriting and performing abilities. The demo was successfully promoted in Turkey and on the worldwide basis via TV, radio, fanzines, magazines and newspapers. In less than a month following its release, Hazy Hill have sold over 500 copies of FAN OF YOUR FANCY by post.

FAN OF YOUR FANCY was chosen as the best demo tape of Turkey in the readers poll in 1992. Consequently Hazy Hill shows started attracting more and more people.

March 1993 marks the band’s second international live experience, this time in Germany with two German acts. A little later, Hazy Hill played their biggest show in their career in May 1993 at the ODTÜ (Middle East Technical University) in front of 5000 fans.

Throughout 1994, Hazy Hill continued writing new songs and playing live shows in various venues in major cities of Turkey.

1995 started with a very busy schedule; along with the shows, the band also walked into the studio once more and recorded 10 songs. Out of these 10 tracks 4 were chosen and TORCH-IN’ THE NORTH POLE saw the light of the day. With four strong songs, a good sound and an attractive pacakge TORCH-IN’ THE NORTH POLE would be a killer without a doubt but suddenly, and shockingly, Hazy Hill decided not to release it and put an end to their 7 year career with a farewell show, no sufficient reason being given. This 140 minutes long farewell show in Ankara was the hardest gig in Hazy Hill’s musical life and they were parting from their fans.

After the farewell the following three years were absolutely silent. Then in 1998 they were approached by a record label and a reputable music critic and were told that they should release TORCH-IN’ THE NORTH POLE as an EP as the fans still wanted to hear it. Hazy Hill came up with a press release that they would be releasing TORCH-IN’ THE NORTH POLE as a limited edition EP but that was no reunion or nothing. After its release TORCH-IN’ THE NORTH POLE sold out quickly.

In March 1999 Hazy Hill realized that they were having real hard time keeping apart from playing. That was the beginning of a reunion. The band decided to record five new songs and along with these newies gather all the old material on a single album. They also decided to play live again, as they missed the excitement they felt on stage so much, but with a more relaxed schedule compared to their heavier schedules earlier in their career.

HAZY HILL’s new album 8800 was released in February 2000 on Sis Productions. This 17 track, 74 minutes long album includes all the songs from their previously released EP and demo tapes, Murky Bedlam (1990), Fan Of Your Fancy (1992) and Torch-in’ The North Pole (1993/1995), plus 5 new studio tracks, Bleeding For a Dream, Fear And Sorrow, This Emptiness, Point Blank and Nothing But Just a Memory. Various musicians on vocals, guitar, acoustic guitar, keyboard and piano joined the band in these sessions.

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Music for Film, and Visual, Interactive and Other Media

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Films

Light-Poster-ENG-300_444_px

Directed by Ufuk Önen

Written and Produced by Neslihan Atcan Altan

Full cast and crew: IMDB

Amidst the sterile coldness of a suburb, a lonely lamp post residing in the front yard of a vacant house finds a connection that warms her heart: a sad looking guy who cares about her.

Screened at the 4th Annual Columbia Gorge International Film Festival, WA, USA (11 August 2011), and the 7th SoCal International Film Festival, Huntington Beach, CA, USA (30 September 2011).

CGIFF_Laurels_SUBMIT2_small     SoCal

Executive Producers: Hakan Altan & Ufuk Önen
Director of Photography: Murat Aygüney
Film Editor: Andreas Treske
Original Music by Ufuk Önen
Production Manager: Aslıhan Acar
Production Assistants: Ayça Tercioğlu & Pınar Mecit
Camera Assistant: Buket Akpınar
Special Effects: Burak Çaldır
Sound Editor and Designer: Ufuk Önen
Graphic Designer: Serda Ceren Sağbaş
Stills Photographer: Ahmet Necati Uzer
Cast: Hakan Altan

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Books and Publications in English

Image, Time and Motion: New Media Critique from Turkey

ITM_431x600Edited by Andreas Treske, Ufuk Önen, Bestem Büyüm and I. Alev Degim

Published by Institute of Network Cultures, Amsterdam, 2011.

ISBN 978-90-816021-5-0

To order a copy or to download free PDF version click here.

This reader is a collection of essays written by Turkish graduate students between 2003 and 2010 for Andreas Treske’s seminar/course “Image, Time and Motion” at Bilkent University in Ankara, Turkey, revised and actualized in 2010. Coming from a wide range of disciplines they had studied before, very rarely media or cultural studies, these students brought in their various viewpoints and methods, and tried to integrate their observations and understandings in a seminar related to cinema and new media to discuss and sometimes just to describe the influences of digital media technologies for themselves and their colleagues. Starting from the premise that digital technology redefines our moving image culture, the authors reflect in their essays various kind of approaches and methods, experiences and practices, descriptive, critical and interdisciplinary.

Contributors: Pelin Aytemiz, Bestem Büyüm, I. Alev Degim, Bilge Demirtas, Fulya Ertem, Deniz Hasirci, Cagri Baris Kasap, Zeynep Kocer, Rifat Süha Kocoglu, Leyla Önal, Ufuk Önen, Didem Özkul, Segah Sak, Ayda Sevin, Umut Sumnu, Andreas Treske and Funda Senova Tunali.

 

 

 

Game Audio Curriculum Guideline (v1.0)

Prepared by the Game Education Working Group of the Interactive Audio Special Interest Group.

Published by MIDI Manufacturers Association Inc., Los Angeles, 2011.

IASIG

Download PDF

IASIG Web Site

‘Games Audio’ encompasses a diverse set of skills and concepts: from recording a tank, to hardcore DSP programming; from writing a tune for a mobile phone, to writing out string parts for a recording session with the London Symphony Orchestra… so defining a “game audio curriculum” is no simple task. Universities and Colleges around the world are interested in developing courses in this area, so the aim of the EDU Working Group is to provide guidance for course developers, which students may also use to understand what courses may be available to them.

Primary Authors (in alphabetical order): Karen Collins (University of Waterloo), Ken Felton (SCEA), Brad Fuller (Sonaural Studios), Templar Hankinson (Firelight Technologies), Stephen Harwood (NYU Steinhardt), Kurt Heiden (ION Audio), Steve Horowitz (The Code International), David Javelosa (Santa Monica College), Robbie Kazandjian (Soundboy Ltd), Jim Rippie (Invisible Industries), Michael Sweet (Berklee College of Music), Richard Stevens (Leeds Metropolitan University), Mike Worth (Westchester University of Pennsylvania, Drexel University), Ufuk Önen (Bilkent University).

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