![]() ![]() A total of 110 presentations and addresses were given. A total of 635 people attended this educational forum which was dedicated to further the understanding of the design, construction and operation of the Superconducting Supercollider (SSC). Take a look at the score (PDF) and an article (swedish PDF) about the piece.IISSC '89 was a tremendous success. I used my own software K圜E for the composition, and a custom program to convert the output from K圜E into a LilyPond score. Jonny plays his homebuilt 17-stringed bass-cimbalom. This is an acoustic piece specially written for Jonny Axelsson and Ivo Nilsson duo. Music for computer-controlled acoustic piano. Take a look at the graphical score (PDF). Premiered at Nationalgalleriet, Stockholm. Acoustic piece specially written for Andrea Neumann and her Inside Piano. Premiered at Ljudvågor festival, Visby, together with video by Marcus Nordgren. Two layers, one with additional chorus in the feedback loop to provide a repeating pattern, and one which is played by adjusting feedback amount and EQ. M24T01 06’44”Įlectronic piece based on electric feedback through reverb, pitchshifter, distortion and EQ. ![]() The synthesizer and DSP is controlled live through a MIDI-controller, and the whole piece is one recorded live-performance. The sinusoids also has a twist, at some times they are frequency-modulated violently to create a harsh noise-like spectra. ![]() Analogue feedback through EQ and DSP with a lesliey-simulator algorithm. ![]() This electronic piece is based on two basic components: Layering of sinusoids tuned in the overtone series. Premiered live at Fylkingen 2006, where I followed a score to adjust parameters controlling random-based algorithms which controlled pitch and duration of the sinusoids through a table of possible choices. Layered sinusoids with frequency modulation. Qualia (M29T03) 14’34”Įlectronic piece originally for eight channels. Headrooms 10’20”įM-synthesis through electromechanic spring-reverb, and live mixing where small high-frequency noises are placed in the sound image, near the treshold of consciousness. Rhytmical patterns by interference between distorted tones. Covarience 12’11”Ĭassette loop and electric feedback. This creates a massive sound wall, full of small details in motion, which is then shaped and sculptured in an improvisational phase. In this composition I use electric feedback through a series of audio effects units, like pitchshifter and spring-reverb. Used in the short-film Människorna och valen (The people and the whale) by Peter Larsson. Layered and transposed recordings of steelbowls bowed with wooden stick. This is one of my few non-synthesis works. Graphical score (exported from AlgoScore) is available here (PDF). Chords of wave-terrain synthesis unfolds their spectra in slow waves, each wave reaching higher and higher, creating dense textures of overtones in evolving patterns. The graphical score (exported from AlgoScore) is available here (PDF). It’s a long slowly evolving drone piece, based on filtered noise and several resonators. This composition was made with AlgoScore and CSound for the sleepingbag concert at Fylkingen. Also take a look at the flowchart (PDF) of the csound patch. The graphical score is available here (PDF). Clusters of tones, the scale given by dividing the octave by 9, building up dense textures in constant, but very slow, transformations. Triad 16’48”Įarly sleepless morning 1st of december. Premiered at VOLT festival 2011, Uppsala. BitFlip PointerCount Ī bass interference pattern is combined with layers of pulse-width-switched tone sequences. Sarangi-recordings pre-processed through analogue cassette tape, filters and feedback, layered and stretched in real-time with SuperCollider. Psfb Ī double pitchshift-feedback processing a single oscillator to build up dense textures, moving between harmonic order and chaotic noise. ![]()
0 Comments
Leave a Reply. |