Audium® Archives


HIGH FIDELITY MAGAZINE, May 1970, ?our Channels and Sixty-One Speakers

PERFORMING ARTS, November, 1975, ? New Sound Concept

HIGH FIDELITY AND MUSICAL AMERICA, September, 1976, Alfred Frankenstein ?ebuts and Reappearances

Excerpt: ?pace has always been an implied dimension of electronic music; in Audium it becomes an actual dimension as well.....While everything is taped, the innumerable, often complex paths the sound takes through 136 speakers, the speed of its motion, and its intensity are subject to the ear and hand of the controller. The music is thereby released from the mechanical repetitiousness that so often characterizes the electronic medium....Darkness makes space part of the experience in uniquely powerful fashion. Often one seems to be searching out the sound, using one? ears in a strenuous aural exploration of the surroundings. And the surroundings seem to encompass far more depth than the experience of the eye would confirm. ?haff has not invented any particularly new sounds, but his use of space as an element of sound is his and McEachern?....even the most familiar of sounds takes on an unexpected clarity and purity....Nothing quite like it exists anywhere else.

SYNAPSE, The Electronic Music Magazine, Phillip Elwood, Oct. 1976, ?udium: Sound in Space ?tan Shaff and Doug McEachern are sculptors in sound and space.

BAM, THE CALIFORNIA MUSIC MAGAZINE, Blair Jackson, January, 1978 ?phrodisiac for the Ear

KEYBOARD, Ellayn Evans, February, 1981

Excerpt: ?ournalists form Los Angeles to Japan have praised its haunting intense sonically-created environment...configurations of environmental and futuristic sound are steered through the theatre via 136 separate speakers placed all over the room in the ceiling, walls and floor.

KEYBOARD, Greg Armbruster, Nov. 1984, ?udium in San Francisco a Theatre of Sound-Sculptured Space, pg. 10

Excerpt: ?here are two concepts that are fundamental to my work: first is the idea of sound in motion as an element for musical composition, and second is the idea that the environment is part of the work, a compositional entity in its own right. So states...Stan Shaff, composer...?onventionally, composers have almost been forced to present their works in the container chosen by the audience the auditorium...I?e reversed that. Here the work is the place, and everything that goes on within it is part of that work. The composition literally starts the moment people enter the foyer...

ELECTRONIC MUSICIAN, Deborah Parisi, Jan. 1990, ?nto the 21st Century: New Ways of Making Music, ?pace is the Place (and a compositional tool as well

BAM, THE CALIFORNIA MUSIC MAGAZINE, Richard Price, Dec. 16, 1994, ?an Francisco? Unique Theatre of Sound, pg. 16

THE TENTACLE | Articles | December 1999, Christopher DeLaurenti

Excerpt: ?egrettably, pioneering multispeaker environments such as the Philips Pavilion at the 1958 Brussels World Fair (designed by Le Corbusier with compositions by Iannis Xenakis and Edgard Var?e coursing through 350 speakers), San Francisco’s Audium, and the Karlheinz Stockhausen sphere at the 1970 Osaka World’s Fair have barely whetted the public’s appetite for supra-stereo performances.

MUSIKK FRA STELHETTEN, LOSTBLOG, Trond Lossius, June 3, 2001

NEW MUSIC BOX, The Web Magazine from the American Music Center, Dean Suzuki, Dec. 1, 2001, ?iew from the West: The Next Big Thing

Excerpt: ?he work is at once music as well as a kind of abstract dance (movement through space), sculpture (defining space through sound), and theater. Shaff believes that the use of sound moving through and defining space is the next step in the evolution of contemporary music, and there is certainly great potential for the genre...

ICAT 2002 CONFERENCE, The Virtual Reality Society of Japan, Dec. 4-6, Tokyo, Japan, Abstract: ?patially Immersive Displays: Media Spaces, University of Aizu, Michael Cohen, Takuya Azumi, et. al. DEMeter, December 2002, Vincent Tiffon, Universite de Lille (French text) (pg. 14 reference)

NEW MUSIC BOX, The Web Magazine from the American Music Center, Stan Shaff, Comment on question: ?hat happens when the space is an integral part of the compositional process?? Jan. 8, 2003

OTHER MINDS FESTIVAL, Special Performance for OM 10 Festival, March 5, 2004 ; Composer Panel, March 4, 2004

AUDIO TELETIPOS, Feb. 23, 2005



NEW MUSIC AMERICA ?1 FESTIVAL, Special Performance, June 9, 1981

SAN FRANCISCO ARTS FESTIVAL, 1982 Participant, June Aug., 1982

*WIRED, ?ig Sound? Feb. 1996 Colin Berry

PRO SOUND NEWS, David Streich, June 1998, ?wesome Audium pg. 82

SURROUND PROFESSIONAL, Oct. 1998, Richard Zvonar, ?ay Area Surroundings, pg. 16, ?or those wishing to explore the surround treasures of the Bay Area, consider these multichannel institutions...Shaff? interest in musical space was first kindled by his association with the sculptor Seymour Locks in the late 1950?..Shaff, a jazz trumpeter, would improvise with Locks projections, moving about while he played to explore different spatial relationships with the environment.

SHIFT/INFO-WORLD, JAPAN, 2000, Kanya Niijima

CHURN MAGAZINE, An Arts Magazine, Issue # 4, Edition, 2001 Excerpt: ?.. an amazing sound system which experiments with all possible ways to create sound in an enclosed, almost visually sweltering pitch black environment. Also, Interview with Stan Shaff

RES MAGAZINE, Film, Music, Art, Design, Culture June 15, 2004

OTHER MINDS FESTIVAL, Special Performance for OM 10 Festival, March 5, 2004 ; Composer Panel, March 4, 2004


PING MAGAZINE, JAPAN David Charles, August 25, 2008
UNITED PRESS INTERNATIONAL, Oct. 25, 1970, Robert Strand, ?n a Noisy World, a ?heater of sound? (article released after theatre closed, due to sale of building)

UNITED PRESS INTERNATIONAL, Robert Strand, Nov. 1976 ?ounds-in Space Excerpt: ? new art form is emerging: the sounds-in-space show

ASSOCIATED PRESS, Robert McEwen, January, 1978 ? Paradise of Sound

REUTER?, Dean Lokken, March 26, 1986, ?udium: Music in a Womb
SAN FRANCISCO CHRONICLE, Oct. 17, 1964 ?pace-Sound Continuum in Total Darkness, Alfred Frankenstein, Music Critic , Review of Oct. 15, 1964 Audium performance at San Francisco Museum of Modern Art


?pace and sound seem to go especially well together when the sound is produced electronically, but the possibilities of the space-sound continuum have seldom been so extensively explored as they were Thursday night at the San Francisco Museum of Art in a program presented by Stanley Shaff and Douglas McEachern. Shaff is the composer and McEachern the sound engineer. With speakers placed at strategic points in the room, and other speakers mounted on arms that go ?ound and ?ound over the heads of the audience, McEachern makes it possible for Shaff? sound to move in any and all dimensions.... he has a remarkable way with delicate, ethereal sounds of many shapes and colors, and their deployment in space is no mere gimmick; he is also a master of irony and drama. He has real style and real range of style in a medium wherein conformity and cliche are more the rule than the exception, and one hopes his work will eventually reach the large audience it deserves.

SAN FRANCISCO CHRONICLE, July 28, 1967, Merla Zellerbach, ? Non-Psychedelic Trip Through Sound

BAY GUARDIAN, Creighton Churchill, May 14, 1968 ? Light Show for the Ears

SAN FRANCISCO CHRONICLE, Glen G, Music Reviewer, May 20, 1968, ?ound-Sculptured Space at the Audium

OAKLAND TRIBUNE, Paul Hertelendy, Music Critic, Sept. 24, 1968, ?.F. Audium First ?obile in Sound?

OAKLAND TRIBUNE, Paul Hertelendy, Music Critic, Sept. 10, 1969, ?ypnotic Sounds Highlight ?udium?

Excerpt: ?udium is such a sophisticated theater of taped sounds that it makes Karlheinz Stockhausen? developments in spacial music seem rather primitive in comparison.

BERKELEY BARB, David Close, Sept. 19, 1969, ?udium

Excerpt: ?uch work has been done with the shaping of light and space into free form, but the sole use of sound as an artistic medium in itself has been a neglected stepchild. Only a few men like Stockhausen and Cage have bothered with it at all, and it has never been explored to the full depth of its possibilities. Rock and modern stereo techniques only nibble at the fringes, and never really approach the core of sound as an art form. We have given so much attention to the bombardment of all the senses as a means of entertainment that we have neglected the possibilities inherent in the isolation of the senses and the use of their perceptions as a means to develop the mind and imagination. This concept is alive and working in Audium.

OAKLAND TRIBUNE, Paul Hertelendy, Music Critic, Oct. 26, 1969, ?ew Sounds, New Sources

Excerpt: ?wo local master craftsmen in music and acoustics have perfected a new technique that one could call mobile polyfontal music...It could easily develop into a major art form of the coming decades.

SAN FRANCISCO CHRONICLE, Anitra Earle, Music Critic, Dec. 15, 1969, ?udium? Concert in the Dark

Oct. 2,1970: FIRST AUDIUM THEATRE CLOSES, due to sale of the building. Oct. 31, 1975: OPENING OF AUDIUM'S SECOND THEATRE.

OAKLAND TRIBUNE, Paul Hertelendy, Music Critic, Dec. 28, 1975, ?udium: A Real Ear-Opener

Excerpt: ? episodic adventure in mobile polyfontal sound...grade-A trip to the moon on gossamer wings

SAN FRANCISCO SUNDAY EXAMINER & CHRONICLE, Calvin Ahlgren, Music, Jan. 11, 1976, ?here? More to High Fidelity and Music Than Meets the Ear

Excerpt: ?..a revolution is in advanced flight. If it had a logo, it might well be a pair of winged ears. ? represents an auditory planetarium

SAN FRANCISCO EXAMINER, Philip Elwood, Music Critic, Jan. 24, 1976, ? Supertrip in Aural Arts

Excerpt: ?udium is sensational, a supertrip...probing the possibilities of compositions in recorded sound, and space.....silence, sound, darkness and light are absolute and penetrating.

LOS ANGELES TIMES, David Johnston, Oct. 12, 1976, ?heater in Dark Puts On Fantasy Show for Ears Excerpt: ?5 minutes of sensational aural stimulation....Its sounds, in a blend that is both symphony and cacaphony, seem to go beyond the eardrum to penetrate the soul...light show for the ears

CHICAGO TRIBUNE, Michael Coakley, Dec. 12, 1976, ? language of sound tells the ?udium Story

Excerpt: ?t is a performance, rather unique in the history of theater, which is totally devoid of the visual. Just blackness and sound.

CALIFORNIA LIVING (S.F. Sunday Examiner & Chronicle), Anna Shaff, March 6, 1977, ?udium Continuum

Excerpt: ?bove, below, front, rear, sides, metamorphose into aural dimensions. As sounds travel, carving space, conjuring images, you are participating in a sound sculpture. Sound is sculpting space.

BAY GUARDIAN, Blair Jackson, Feb. 24, 1977, ?ound Sculpture in Four Dimensions

Excerpt: ?udium puts sound into three clearly discernible dimensions plus a more mystical, less definable fourth dimension that lies in the mind...

SAN JOSE MERCURY, Paul Hertelendy, Music Reviewer, Jan. 10, 1980, ?udium a Delight for the Senses Excerpt: ? polyfontal sound, surging through the space-time continuum.

ASAHI SHIMBUN (Tokyo), Iwao Sakane, March 17, 1980, ?heater that Aims to Rehabilitate Music

Excerpt: ?udium made me recall several experimental sound halls established during the International Exposition held in Osaka back in 1970. Nothing significant has developed in Japan since then. On the contrary, the experiment is being continued in America. And there is a man like Shaff who is engaged in bringing back music into the everyday life of mankind. I was deeply impressed...It is not far in the distant future, I don? think, that a small theater such as Audium will gain its proper recognition.

SAN FRANCISCO CHRONICLE, Heuwell Tircuit, Music Reviewer, Jan. 30, 1984

Excerpt: ?omposer Stan Shaff? ?udium VIII has just opened, and proves o be one of the most refined and elegant of the lot....The sounds are above, below and all around the audience. Thus the use of ?culptured sound to describe ?udium. A sound can begin one place, and then move above, below or around the room. Such features never degenerated into Ping Pong exhibitions, but were used with considerable finesse. ...grand rumble through the floor, which, as in Harry Partch? Marimba Eroica, one does not so much hear but ?eel through your backside.

SAN FRANCISCO EXAMINER, Scott Beach, Music Critic, July 7, 1984 ? Compelling Show for the Ears Only ? is certainly an impressive and compelling experience....the production they offer is truly unforgettable

SAN FRANCISCO SUNDAY EXAMINER, IMAGE MAGAZINE, Kittredge Cherry, June 28, 1987, ?t? a light show of Sound pg. 30

URB MAGAZINE, June, 1994, pg. 20, ?uture Perfect: AUDIUM: A Waking Dream ?...The San Francisco Bay Area is well-known the world over for its vibrant music scene, less well-known are some of the area? electronic music pioneers. I made one of the most fascinating discoveries the end of last incredible experiment in sound. Audium. WESTERN EDITION, August 1995, Richard Fitzpatrick

SAN FRANCISCO WEEKLY, Colin Berry, Nov.18, 1995 ?enses Working Overtime pg. 18

SAN FRANCISCO FOCUS, Dennis Harvey, March 1997, ?..the world? largest musical instrument...Audium is a unique San Francisco cultural institution pg. 114

SOMA MAGAZINE, Feb. 1998 ?ound Garden, Jeff De Lucio-Brock

SAN JOSE MERCURY, Paul Hertelendy, Music Critic, July 3, 1998 ?udium Surrounds Listeners (Eyes, pg. 30)


SAN FRANCISCO MAGAZINE, March 2000, ?ulture Hot List pg. 45

SAN FRANCISCO WEEKLY, Silke Tudor, March 21, 2001, ?ltered audiovisual states at Euphor!um and the Audium

SAN FRANCISCO CHRONICLE, James Sullivan , Aug. 30, 2001, ?urreal Sculpture for the Ear

Excerpt: ?heir ideas about the movable energy of sound are just now finding their way into the entertainment world, through ?urround sound at the movies, ambient nightclub settings and the new multichannel recording technique called DVD Audio 5.1.

VIA, March 2002, ? Feast for the Ears

RATCHET UP: Sonic Immersion, John Schott, 2003

DIGITAL CITY, Jim Christie, ?ound Sculpted for the 21st Century

ARTS SF.COM, The Independent Observer of S.F. Bay Area Music, Paul Hertelendy, ? New Reality: AUDIUM'S Blacked-out Surround-Sound Collage, Jan. 16-23, 2004, Vol. 6, No. 56

Excerpt: ?eing enveloped in electronic sounds encroaching from all directions in pitch darkness is something like scuba-diving far below the ocean surface: On one hand, you feel a meditative sensory deprivation, on another you are keenly aware, as if your senses are wide open for the first time.

SAN FRANCISCO BAY GUARDIAN, Johnny Ray Huston , June 2-8, 2004 ?ite and Sound: Audium? Stan Shaff Creates a Soundtrack in the Mind? Eye

*LETTER TO DATEBOOK, Gareth Loy, ?pace Music,? reference, June 24, 2005

NEW YORK TIMES BOOK REVIEW, “Night + Day: San Francisco” by Julianne Balmain; reviewed by Richard Woodward, May 7, 2006 (reference)
MOSAIC THEATRE, Lael J. Woodbury, Dean, College of Fine Arts and Communications, Brigham Young University Press, 1976, pg. 165

CONTEMPORARY AMERICAN COMPOSERS, a biographical dictionary, Second edition, compiled by E. Ruth Anderson, C.K. Hall & Co. 1982

THE COMPUTER MUSIC TUTORIAL, The MIT Press, Curtis Roads, 1996, pg. 454


EXPERIENCE DESIGN, Nathan Shedroff, New Riders Publishing, 2001, pgs. 266-267

DIGITAL AUDIO WORKSTATION,* Colby Leider, Miami School of Music, McGraw Hill, 2004, pg. 303
KPFA Interview with Charles Amirkhanian, “Thin Air,” Sept. 12, 1969


CALIFORNIA REPORT, KQED FM, April 13, 1999, Colin Berry


PLEASE NOTE: The AUDIUM ARCHIVES PAGES include most of the significant articles we have been able to find, with hyperlinks provided when available. If you come across anything we've missed, please e-mail it to us for inclusion ( If you are a researcher and can not get an article through the newspaper? or magazine? archives, we will try to e-mail a scanned copy to you.
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