The sound design for Prue Lang’s Timeshift project as part of the 2012 VCA Dancescape programme incorporated a mixture of field recordings, original compositions and licensed material. Working with Prue was an exciting and dynamic process of discovery, looking for sound which had points of connection to the choreography but avoided any literal parallels.
Additional pieces of original composition from field recordings were used in the Paris performance of Timeproject a separate but related piece.
The Masala Surround Sound System is a flexible 24.2 channel system consists of 24 matched mid-range Grover Notting CR-1 ref- erence monitors and 2 powered subwoofers. The CR-1s are powered by three 8 channel amplifiers custom-built by Joe Malone, with the signal chain driven by an RME Fireface 800 and 2 RME ADI-Pro 8 channel ADAT interfaces. All CR-1s can be placed on floor stands or mounted to standard lighting gantries and other fixtures with directional mounting clamps.
This set up allows for flexible configuration of the Masala Sound System, including typical 8 or 16 channel circular surround, or more complex 2 and three tier configurations, as well as linear configurations.
The system comes with a custom spatialisation control tool which can operate as either a standalone control system or as a suite of Max For Live devices running within Ableton Live. Support for up to 24 discrete sound sources, each with their own automatable 3D spatialisation control, provides easy entry into the world of ambisonic sound control.
The Masala Surround Sound System is available for hire for surround sound concerts, gallery installations, theatre productions, and interactive installations and performances. Contact us to enquire about availability and rates.
Infundibular is an interactive media performance featuring choreography by Rachel Heller-Wagner and Ashlee Bye, sound design by Jess Keeffe and Camille Robinson, and visual design by Travis Cox.
Interaction design for the show featured devices developed by Chailight Production’s Mark Pedersen, including an wireless on-body inertial movement sensor worn by Ashlee Bye, an adaptive sound control system utilising the Microsoft Kinect depth sensing camera, and a wireless interactive button system enabling audience interaction.
A Breath of Fes Air is an audio essay based on first hand experiences and interactions at the 2010 Fes Festival of World Sacred Music. You can listen to piece below, and read about the process of making the piece here.
Golconda explores themes of multiplicity and unity, decay and renewal in the context of Islamic philosophy, history and architecture. Based on a poem by contemporary Urdu poet Jameela Nishat, this piece incorporates Nishat’s reflection on the fading glory of the city of Hyderabad. Founded as the capital of the Deccan region of India in 1591 by the Qutub Shahi kings, Hyderabad is now being reborn as a hub of India’s burgeoning IT economy.
The poem, read by the author, is woven into the sound space following unfolding lines of arabesque geometry. Field recordings from Hyderabad, including ambient spaces from the ruins of Golconda fort referred to in the poem, and the sounds of the liminal community developing along the highway leading to the city’s new international airport, anchor the text between the receding past and the approaching future.
Underpinning the piece is the chanted Arabic word “Hu” meaning simply “is” or “existence”. The arabesque patterns which describe the movement of the individual sound objects were a frequent feature of Islamic architecture in Hyderabad, and serve as a form of meditation on the void, playing with positive and negative space, and leading the listener through the complex iterations mirrored in the maze-like bazaar of the Old City before emerging into the inner courtyards of mosques, temples and palaces – the Irfanic spaces of contemplation.
This piece is designed for 4 channel playback. A stereo version is available for streaming below. Please contact us if you are interested in the multi-channel version.
GreenFaith commissioned a soundscape for their forum at BMW Edge in Federation Square as part of the Melbourne Sustainable Living Festival in 2009. The soundscape played quietly as people arrived and then once they had settled, the main body of the soundscape was designed to confront the audience with the challenge of dealing with human impact on environment, but also provide a sense of hope. With the Black Saturday fires in Victoria still a painfully recent memory, the forum was a powerful event.
‘The powerful story of human damage to, and healing of, nature transported
the audience out of the BMW Edge on waves of memorably emotive sound,
artfully cratfed by the Chailight team’.
In this project, Ralph Muhlberger and I explored issues of developing a sonification of the game of Go, and then adapting the sonification for use in an interactive performance piece featuring Shakuhachi, the Japanese end-blown flute, as a primary instrument for interaction and as a sound-source for the sonification. Our approach to sonification seeks to establish a mapping from data to sound which preserves the symbolism and the aesthetics of the game, as well as present the data embodied in a specific game record in a form that is as transparently comprehensible as possible. The performance incorporated live improvisation by a human performer interacting with a sonified game of Go. A research paper and a performance were presented at Australasian Computer Music Conference in 2005.