This is a ambient composition to set the mood for Lacy Barry's art installation. 

The project revolved around Luminaries that she and Maiko Sato developped: Based on Ernst Haeckels underwater micro organisms, this projects handles the properties of the Radiolarian species and their environment. Involving elements of light, recycled wool, acrylic and music, the instillation consumes space from floor to ceiling, inviting viewers to interact with it through movement and touch. ( http://www.lacybarry.com/#1094842/Radiolaria-Lighting-Project-Light-Radiolarians )

Thus, I got inspired by the deep sub aquatic life and their beautiful shapes and colors.
Enjoy!

Sebastian DeWay - Radiolaria (Undersea Explorer Mix) - 2011

To hear the music within the sound, that was my goal; to extricate the melody, the harmony and to reveal these elements from my sounds. Thus, let's hear the engine of the Camaro make music. 




Sebastian DeWay - In My Camaro - 2010

F1-Pitstop-LotusRenault-June 9th 2011-Montreal

Montreal-F1-Pitstop-LotusRenault-June 9th 2011

The majority of these sounds come from boat sirens and my wandering inside the boat. Like every electroacoustic music concert, you need to listen to this piece in the dark in order to see the musical images appear in your mind.

Bon voyage sonore!


Sebastian DeWay - Une Nuit à la Dérive - 2008

This piece was inspired by a soundwalk recorded at the train track in my Outremont neighborhood and from a trip to London on July 7th 2005, morning of the bomb attacks (which could have been my last trip). Thus, the automated voice of Paris' Gare du Nord announces a destination that seems to transport us towards an experimentation and a course that is not exactly the one we might have imagined.

Sébastian DeWay - Eurostar no. 9007 - 2008

A Metalloid is a chemical element that can't be classified as a metal, neither be as non-metal element. Basically, its physical and chemical properties are intermediate between metallic and non-metallic. 

There is no strict definition of a Metalloid. For example, Arsenic is a chemical element semi metallic, presenting some intermediate properties between metal and non-metal. Thus, with this title I meant that this musical work contains some instrumental elements and some electroacoustic ones, therefore not simply an instrumental piece. Since the commissioned ensemble « Magnitude6 » is a brass (metallic) ensemble, I thought it would be appropriate to name this piece like that because I was the « non-metallic » element in this piece.

With their divergence and convergence, the work offers a meeting of symbiotic points between these 2 sonic worlds. This composition focuses on the textural, dynamical, contrasting and spatial aspects, putting upfront the qualities of the instrumental and electroacoustic music.    

(The work is originally conceived in an 8 channels configuration).


Sebastian DeWay - Metalloid (Stereo version) - 2012

This is an un-edited recording of a Train passing near my house in Montreal. That day, I was on the lookout for recording trains passing on those tracks. To my disappointment, for 3 hours no train passed by, only when I was walking back home and about to leave the train tracks that I saw a light in the dark of night. Immediately, I started recording and I was ready for it. Although, I didn’t have any practice to make sure my levels were sufficient to record without over saturation, nor did I have a microphone foam to protect the recording from the wind created by the Train. In addition, I was standing very close to the passing Train; it was a bit scary but I wanted that recorded Train so much that I made sure it would not let that opportunity slept away.
I was using a Sound Devices 722 paired with an Audio Technica AT-825 stereo microphone. The original file was recorded at 24bit 192kHz. Now, it is submitted at 16bit 44.1KHz.

Enjoy!


Sebastian DeWay - The Train - 2008

Sante Fe Alley is a soundscape recording made at the thriving market and little shops on that little street of Los Angeles which offers a good grasp of the world’s pop culture through the lens (or the ear) of the Hispanic community.

Sebastian Deway - Santa Fe Alley - 2010

Over the last four years, I’ve recorded many sounds to inspire my compositional projects. Since I’m living in Canada, I’ve noticed that I had distinctive sound recordings from the four seasons. Thus, I thought it would be great to implement these seasonal sounds with their related natural elements in order to create four seasons sonically. The elements invoked here are from Empedocles: Water, Earth, Fire and Air. Thus, for Winter, the sound material mainly comes from the sonic manifestation of water and icy elements.

Sebastian DeWay - Winter (abridged version) - 2012

Over the last four years, I’ve recorded many sounds to inspire my compositional projects. Since I’m living in Canada, I’ve noticed that I had distinctive sound recordings from the four seasons. Thus, I thought it would be great to implement these seasonal sounds with their related natural elements in order to create four seasons sonically. The elements invoked here are from Empedocles: Water, Earth, Fire and Air. Thus, for Winter, the sound material mainly comes from the sonic manifestation of water and icy elements.


Sebastian DeWay - Autumn (abridged version) - 2012

Flamenco music/dance comes from Andalucia, in Southern Spain. It takes roots in Indian, Arabic, Spanish cultures. La cantaora is the singer who is accompanied by a guitarist and a dancer. In this little composition, their playing, dancing and singing are entering a new dimension, being transformed by my use of technology on them. Composed for the voice mix, I kept the essence of her voice, which always perceptible despite all the technology over it.  

Sebastian DeWay - Voz Flamenca - 2012

Electric bells is a short composition that was created by using a bell repetitive buzzing or clanging sound with lots of distortion. Electric bells have been widely used at railroad crossings, in telephones, fire and burglar alarms, as school bells, doorbells, and alarms in industrial plants. With the development of low cost electronics from the 1970s onwards, most electric bells have now been replaced by electronic 'sounders'. These replace the electromechanical striker of a bell with an electronic oscillator and a loudspeaker, often a piezo transducer.

Sebastian DeWay - Electric Bells - 2012

My goal is to give a musical sense with sounds related to the specific season and to spatialize them according to their cardinal direction.

Vivaldi did compose the classical music version of 4 Seasons, thus, I’m undertaking the achievement of the 4 Seasons in electroacoustic music. 

Over the last 4 years, I’ve recorded many sounds to inspire me in my compositional projects. Since I’m living in Canada, I’ve noticed that I had recordings from the 4 Seasons. Thus, I thought it would be great implement these sounds to its related natural elements (winter = water, spring = earth, summer = fire, autumn = wind). 

In addition, to complement the work, since it is composed for 8 channels, I’ve incorporated the 4 cardinal directions to give a geographical sense to the 4 seasons (winter = north, spring = east, summer = south, autumn = west). So there will be a focus for the Summer season, an attention to the spatial location of these sounds at the Back (South=Behind) during this composition.


Sebastian DeWay - Summer, The Third of the 4 Seasons - 2012

http://Vimeo.com/SebastianDeWay
https://Soundcloud.com/SebastienLavoie1

In 2007, Sebastien begins his electroacoustic music studies at the University of Montreal in Canada. Since 2013, he holds a Master’s degree on “The integration of spatialization in acousmatic music as well as its performance in concert. This project on sound spatialization was achieved with the help of Robert Normandeau, at UofM. During the course of his Master’s, he also benefited from an exchange program in order to study for one year in the United Kingdom, at De Montfort University, Leicester, with the composer John Young. 

In 2014, Sebastien has started his PhD research and he is currently working on the Spatial presentation of Electronic Dance Music with his research director Monty Adkins at the University of Huddersfield, in the UK.

Sebastien regards himself as belonging to a new generation of students in music who use the Laptop as musical instrument. This compositional tool allows him to develop his musical skills as much on stage as in the studio. What totally gets him in electroacoustic music is the possibility, with technologies, to generate a multitude of hybrid musical forms. 

Sound explorator, he travels through the diverse avenues of noise and music in order to capture and compose the novel sounds. Sebastien is a 2014 winner in the CEC’s annual JTTP project. This national association is supporting the work of Canadian-based young and emerging sound artists.

Sebastian DeWay

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