Sts. (2CD) [2019]
“Private” glass-mastered & profesionally replicated (in an edition of 300 copies) 2CD set of one possible outcome of the “Sts” installation (mixed and mastered at the GRM, 2019) for you to audition and/or consider at home.
Sts (2019) is an 8-channel installation work comprised of recordings made over a 15-year period on differing Serge Modular systems recorded at the Banff Centre for Arts & Creativity, the Columbia Computer Music Center, Elektron Musik Studion (EMS), the Groupe de Recherches Musicales (GRM), Harvard University Studio for Electro-Acoustic Composition (HUSEAC), and Melbourne Electronic Sound Studio (MESS) convolved with fragments of spoken, recitative, and extra-textual verbal communication.
Partly an homage to formative speech-transformation works such as Herbert Eimert’s “Epitaph für Aikichi Kuboyama (1960-1962)”, the mapping of the frequency spectra of time-aligned formants to a catalog of full-range synthesizer signals yields a warm, attenuated field of sustained sound that ebbs through each space at a modest volume, inviting the listener to dwell on individual timbres, phrases, and conversations while assessing the overall sound-field.
Utilizing a sliding, modular structure to diffuse linked stereo pairs of convolutions into 4 discrete chambers, the individual parts become groups of voices heard distinctly, overheard from the next room, or made subliminally aware of via bleed-through from each adjoining space.
“Private” glass-mastered & profesionally replicated (in an edition of 300 copies) 2CD set of one possible outcome of the “Sts” installation (mixed and mastered at the GRM, 2019) for you to audition and/or consider at home.
Sts (2019) is an 8-channel installation work comprised of recordings made over a 15-year period on differing Serge Modular systems recorded at the Banff Centre for Arts & Creativity, the Columbia Computer Music Center, Elektron Musik Studion (EMS), the Groupe de Recherches Musicales (GRM), Harvard University Studio for Electro-Acoustic Composition (HUSEAC), and Melbourne Electronic Sound Studio (MESS) convolved with fragments of spoken, recitative, and extra-textual verbal communication.
Partly an homage to formative speech-transformation works such as Herbert Eimert’s “Epitaph für Aikichi Kuboyama (1960-1962)”, the mapping of the frequency spectra of time-aligned formants to a catalog of full-range synthesizer signals yields a warm, attenuated field of sustained sound that ebbs through each space at a modest volume, inviting the listener to dwell on individual timbres, phrases, and conversations while assessing the overall sound-field.
Utilizing a sliding, modular structure to diffuse linked stereo pairs of convolutions into 4 discrete chambers, the individual parts become groups of voices heard distinctly, overheard from the next room, or made subliminally aware of via bleed-through from each adjoining space.
“Private” glass-mastered & profesionally replicated (in an edition of 300 copies) 2CD set of one possible outcome of the “Sts” installation (mixed and mastered at the GRM, 2019) for you to audition and/or consider at home.
Sts (2019) is an 8-channel installation work comprised of recordings made over a 15-year period on differing Serge Modular systems recorded at the Banff Centre for Arts & Creativity, the Columbia Computer Music Center, Elektron Musik Studion (EMS), the Groupe de Recherches Musicales (GRM), Harvard University Studio for Electro-Acoustic Composition (HUSEAC), and Melbourne Electronic Sound Studio (MESS) convolved with fragments of spoken, recitative, and extra-textual verbal communication.
Partly an homage to formative speech-transformation works such as Herbert Eimert’s “Epitaph für Aikichi Kuboyama (1960-1962)”, the mapping of the frequency spectra of time-aligned formants to a catalog of full-range synthesizer signals yields a warm, attenuated field of sustained sound that ebbs through each space at a modest volume, inviting the listener to dwell on individual timbres, phrases, and conversations while assessing the overall sound-field.
Utilizing a sliding, modular structure to diffuse linked stereo pairs of convolutions into 4 discrete chambers, the individual parts become groups of voices heard distinctly, overheard from the next room, or made subliminally aware of via bleed-through from each adjoining space.