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The collaboration with the painter/object artist/counter-reformer Wolfgang Petrick

has made a new sound work possible this year. On the occasion of his exhibition Turbulence in the Kunsthalle Osnabrück (and 2013 in Sindelfingen) we have created an object-accompanying video installation. We are alongside Wolfgang Petrick, the performance artist Frédéric Krauke for video and editing, the performer Katie Dunbar and I for music and sound design.

Here is a photo of the object in the exhibition with the screen and additional headphones (to the sound system for the object)

Here’s a quick cut of the 45-minute video as an appetizer

A short info about the music and the instruments I used:

For the first time I used the Radical Technologies Spectralis II, for the percussion instruments in the first part of the video (Atelier). The individual percussion sequences of the percussion instruments have different clock numbers, so that the important shifts occur for me, in addition, the volume and room depths of the individual instruments are adapted to the video and are constantly changing.

Here is a video of the manufacturer, which shows why I chose the device, although I avoid the creamy flavors in my work.

The saxophone lines are played with the Korg Karma. Here I tried to play minimalistically in the style of Philip Glass, but more freely to give the whole thing a strange intermediate life between minimalism and free jazz. To create small breaks in the lines, I also disturbed the Korg Karmaengine by the Spectralis II while playing.

The intermediate sequence for part 2 (text) and credits is my first glitch piece (clicks and cuts) from ship sounds and generated with audio mulch, mainly through extreme granularization and random processes. The audio mulch setup has become extremely complex. It seems to me that the production of sound spaces is almost more complex than the production of sound itself.

The second part (Amazonas in Berlin) is a sound collage of underwater noise and overwater noise. So that this is not as simple as it sounds, the sounds are massively processed, partly granulated with Native Instruments Reactor and alienated with a modified effect instrument from Jazzyspoon to Reactor.

Total mixes with Propellerhead Reason

Production time approx. 5 weeks in August/September 2012

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