Get your headphones out – I have a new binaural mix of my monstrous 40-minute, 10-channel piece based on the number 10 Billion. It contains 10 billion sounds, but I’ve been unable to produce a meaningful stereo version… until the visit from the GRM last week, where they showed me an adapted spaces plug-in, which allows any number of simulated channels to be mapped to a binaural mix. I’ve just pasted an excerpt on soundcloud (the whole to follow in due course):
Last week, we were very happy to receive a visit from Philippe Dao and Emmanuel Richier from the GRM. In addition to being unbelivably lovely people, Philippe and Emmanuel presented on the history of the GRM, the interest in space, and the purpose-built space tools. They also presented some recent works in a small concert. Here are some photos of them during the event:
Adam Stanovic was born in Leeds, now has residency at Sheffield. Here he is with Ténébrisme(IMED 18153) 1 showcasing very recent compositions 2015-17. He exhibits the now-commonplace concerns with transforming musical instruments, pieces of metal, audio travelogues and such like, but his feisty essays indicate he is trying to challenge the received wisdom of contemporary electro-acoustic music, expressing a certain frustration with over-used tropes in the genre. A dull-witted noise-lover like me can certainly dig his roary pieces, which have a lot more fire and chaos than we’re used to in the field; plenty of tidal waves of digital information surging and rebounding around imaginary spaces like titanic forces, sometimes with quite shocking dynamics, cut-offs, and wild timbral shifts. Ctrl C, Metallurgic and Inam all have this rather threatening density to them, and Foundry Flux is as alarming a portrait of Sheffield’s industrial past as you’re ever likely to hear. Bonus points too for composing a homage piece to Beatriz Ferreyra, the Argentinian wild lady of electro-acoustic music.
Ed Pinsent, The Sound Projector, June 9, 2019
I’m very happy to have been invited to perform my large-scale piece – 10 billion – at Sound IN Space (SINS) at The University of Derby. I shall be giving a talk about the piece in advance of the performance, focusing particularly on space and the approach to form. Should be a lot of fun. For more details, and booking, visit:
I realised earlier on today, that this year will include more collaborations than I have ever previously attempted: I have four pieces planned, including:
- a new film with director Vishal Shah
- a percussion and electronic piece collaborating with percussionist Thierry Miroglio
- a fixed media accordion piece based on the quantum scales of
- a collaboration with Kelham Island Industrial Museum – where 8 of my (ex) students, Adrian Moore and I will work with sounds recorded on site.
Last week, I had the pleasure of delivering a masterclass and concert on the beautiful island of Corfu. I was a great experience, and I am extremely grateful for the invitation, support and help of Dimitrios Savva, Andreas Mniestis, and Nikos Kanel. Hard to believe. but the white building in the center of this photos is the music department, where the masterclass was held:
I’m very excited about next week, where I’ll be delivering a solo concert and masterclass in Corfu. I’ve pasted my abstract below…
State Changes: composing with contrasting sound materials
Over the past ten years, I have been developing a compositional method for work with contrasting sound materials. This started back in 2009 when I composed a large-form piece called Point of Departure; at this point, I realised that I could make a seamless transition from pitched sounds to noisy sounds, whilst simultaneously transitioning from discrete, delicate materials towards brutal saturation. This realisation fascinated me because, at least in part, it contrasted my previous approach to materials, in which contrasting materials were simply layered to highlight their dissimilarity. In this new approach, contrast is apparent at the start and end, but a seamless process (leading from one start to the other) preventing one from identifying any particular moment of change. It is, in my mind, state change by stealth. This talk introduces such an idea. It offers a range of examples, drawn from the last ten years of compositional activity, to demonstrate some of the different ways in which it has been employed. More importantly, it shows some of the specific techniques used to achieve these transitions, with some basic technical demonstrations.
For details of the programme, see: