A project that aims at the recycling of common objects as musical instruments:

Reverberation and Resonance as musical instruments

and parameters for live performance.

 

Location: Piscina Mirabilis in Bacoli (Naples - Italy).

---

Collaboration 

Piscina Mirabilis for AudioThing ©. A collaboration with a sound design lab focused

on audio plug-ins and sample libraries.

 

A project that aims at the recycling of common objects as musical instruments:

Reverberation and Resonance as musical instruments and parameters for live performance.

Location: Temple of Mercury, situated in the Archeological Park of Baia. (Bacoli, Naples. Italy).

 

In this video you can listen a my acousmatic composition, made with live recordings

within Temple of Mercury. The audio processings are only a mixing of many

recordings (no exceed 3). The original version is in quadraphonic.

---

Collaboration:

Temple of Mercury for AudioThing ©. A collaboration with a sound design lab
focused on audio plug-ins and sample libraries.

 

 

SP2. Spare Parts Sound Project

Spare Parts Sound Project was founded in 2011. It is a project that aims to recycle objects and materials commonly used in musical instruments.

The objects and materials are equipped with an electroacoustic system (or setup). In this case, small speakers and microphones were installed in objects. Items such as containers and pipes are mainly equipped with a speaker of a size suitable for the object. On the other hand, smaller pipes or objects such as musical strings and springs have been equipped with contact microphones (contact or electret). To rule speakers and microphones it is arranged a small console consisting of a set of pre-amplification and amplification self-built circuits calibrated for the required power. In addition, it is integrated with a small divider signal (basic mixer) that allows you to mix 2 or 3 microphone inputs with respective audio outputs.

The system is completely autonomous from the electricity as it is equipped with a 12V battery. The setup occupies an area of 3 square meters.

The performer will take care of the interaction of objects creating sound bands and musical gestures. Therefore, his main action is to manage the various objects and pre-amplification and amplification potentiometers on the console. The performers may also be more of one up to a maximum number allowed by the planning of the system (max. 2in this case). Per- formers make objects with speakers interact with those with microphones, thus creating an electroacoustic feedback system in the ether that will assume a sound primarily characterized by the resonance of the instruments themselves.

Thanks to small mixer-console, tools are coupled and interconnected with each other, thus creating various possibilities of feedback. In addition to its own resonances, objects are exposed to surrounding environment (place, performer, table where the objects are based, external vibrations, etc.). The environment itself, in fact, in this system assumes a role of yet another interacting tool: the place will act as a “ruler” tool, as it will add a natural reverberation within the feedback system, becoming itself an instrument to be played and/or in any case an instrument of great sound influence.

The performance with this type of electroacoustic setup is driven by feedback that, being a chaotic and unpredictable phenomenon, makes it difficult to propose an identical sound/gesture for more times (except for some sounds closely related to “natural” resonances of instruments). Moreover, the structure of this setup does not have a system of storage – reproduction, but relies on the performer a variety of feedback or sound bands always new. This feature “imposes” and implies the performer the responsibility for the formal quality of the track which can “only” be improved through the extemporaneous storage of just obtained sound gestures.

Furthermore, the setup being very sensitive to any type of interfering vibrations (then to the environment in which it is located), it puts the performer in a position to study the sounds / gestures in the same environments where the performances take place.

The result will therefore consists in sounds always new, “originally” linked to the acoustics of the place, with significant differences of form and musical content among the performances in different environments.