The starting point from which I usually move for every electro-acoustic composition is represented by the "instrument". That is to say that, at least in my case, music is made more from plumbing the possibilities of a self-made electroacoustic instrument, rather than from an abstract idea that precedes and ignores the matter. It is in the act of creating the medium (and even more in its testing) that the music flows. Even the inevitable imperfections of the instrument contribute to the expressive vein, to some extent. 
The tool (which we could define as a "creative" reader of audio files or tables) was designed and created with Max MSP. 
The core of signal processing is the wave object and its ability to read audio files dynamically. 
In this context, spatialization plays a fundamental role as a consequence of a particular "chamberistic" concept of electroacoustic music, that generally avoids the multitrack recording. 
Electroacoustic music often seems stuck in a static form, able to suddenly jump between sections but unable to demonstrate a real dramatic direction. In this sense, the effort is to explore the possibilities of the electroacoustic form from a psychological point of view. Within the piece, you can see recurring themes such as traces of a hinted shape.

Warsong (stereo reduction from 8 audio channels)

The idea that a continuous tone can be broken into smaller amounts of time derives from the ancient atomistic philosophies. In this way, I have always been influenced by a particular approach to algorithmic composition and sound synthesis.
The focus is mainly on the expressive potential of the processed sounds and then the grouping of phonic materials into new sequences. 
Furthermore, this work is more on the side of the whispers than on the side of the shouts. 
In addition, spatialization and convolved reverberation play a key role.
This formula produces musical sense by expanding and shortening times and frequencies from the original waveforms.
The synthesizer was designed and built with Max-MSP.

Poplite Stereo Reduction

Forme Di Sostegno

Voices #11 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014 -Voices #11 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014 -Voices #11 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014

Voices #11

Voices #1 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014. Voices #1 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014. Voices #1 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014. Voices #1 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014

Voices #1

Voices #6 is part of a ten movements suite which took part in the workshop WAVE FIELD SYNTHESIS FROM SOUND DESIGN TO COMPOSITION TO CONCERT PERFORMANCE. Padova sept. 29 - oct. 1 and Venezia oct. 6 2014. 

Voices #6

One of the things I could say is that First I was afraid #8 has been made with a "multiple scrubber" (4 + 4 file), designed by me, and realized with Max Msp. The scrubbing is managed by touching the screen of the Ipad tablet via OSC (Lemur).
The instrument itself is the main part of the music, in this case. The composer is the designer of the instrument, the instrument is the music.
The original recording has eight channels, and the spatialization is part of the music as a whole. Take into consideration that the attached mp3 file is only a stereo reduction of the work, even if the panning effect is also strong.
I always wonder if music has a significance and sometimes I think music is only sound. In fact, composers do not compose with notes anymore. They compose with sounds and we hear sounds. Electroacustic has transformed the idea of music itself.
Eight is the key number: eight are also the sound files that are employed; eight minutes is the length time. The significance of the number eight is linked to the symbol of the Infinite, to the victory. It represents fertility and prosperity. The symbol of the chaos comprises eight arrows.
The chaos theory more than anything else may explain what is happening in our era, which seem to be governed by the ubiquity of deterministic laws. Also the title, which has a caotic origin, is pure sound.  The chaos of  First I was afraid (First I was afraid #1 has been already premiered in "Diffrazioni Multimedia Festival, Florence, july 4th-13th) evokes the paradoxical assumption of the reflection of an experience, which would seem to deny the possibility of a reverse. You could also describe as an attempt to represent a form of exclusion, through the delimitation of its boundary only.The idea is affected by the informal suspension of the dialectic discourse and by the continuous reinvention of the language. 
The project combines computing expertise with the attempt to organize the randomness.

First I Was Afraid #8

this is a desktop music, made with a macbook pro, its trackpad, no other else

Kept tinking

Voices#20 Joom

Katztequl Abstract

The idea that a continuous tone could be decomposed into smaller quantities of time ascends from ancient atomistic philosophies. 
Since the title, Modus Operandi, suggests that there is a proper measure in doing things, this piece has been influenced by a peculiar approach to algorithmic composition and granular synthesis. 
The focus is on the expressive potential of fragmented sounds (arco and pizzicato cello), and on the process of regrouping phonic materials in new sequences which produce new musical sense and form, by dilating and shorting time and frequencies of the original waveforms. 
The main musical form is a sort of “responsorio”: three arco strikes, and then a brief replay with the pizzicato. 
Along the pieces it is also audible a sort of b minor “bordone”. The idea is to join the heritage with music computing. 
The technique include the transformation of sonic structures in corpuscolar sounds that implements the principles of the granular synthesis. 
This work has been selected for Diffrazione Multimedia Festival (Florence - Italy - november 2016) and for the SEAMUS National Conference (St. Cloud University - MN - Usa - 2017)

Modus Operandi

fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue fuga fuga fuga fugue fugue fugue

Fuga 5

Fuga In Re Maggiore

The idea at the basis of Modus is to read an audio file at any speed and any direction.

As anyone knows, it is possible to read an audio file faster or slower than the normal rate. It is also possible to increase (or decrease) the rate until hundred of times. The original sound is used like a periodic waveform. In this way I designed a specific synthesizer in the Max Msp environment.

About the form, there are some recurring episodes: the can, the spring, the farm, the voice, das glashaus(the glasshouse), the ring bell.

The audio files were three (a movie soundtrack, a drum roll and a piano prelude) and I used them one by one avoiding any type of multi tracking.

The spectrum was also divided in eight bands by a multi-band spectral filtering system (100Hz, 200Hz, 400Hz, and so on). So each band generated a specific file to be sent to the spatialisation algorithm, managed by an Lfo.

The result is an energetic and moving raw sound. Some times is pulsing some other is more contemplative. Hope you enjoy.

Modus

The Velasca Tower is one of the most characteristic buildings of the city of Milan.
I took some photos of the Velasca Tower and watched them.
I noticed, among the many other things, the intervals of the lights, that is to say how the modules of the voids and the windows in the facades of the building was given.
Perceiving them as intervals and rhythm, the idea was to consider the facades of Velasca Tower (or to be more precise the west side of the tower's "head") as a music score. The link between the architectural module of the Velasca Tower windows and the sound is simple: the full, that is the presence of a light / window, gives the sound, the vacuum, that is the absence of light / window, originates a silence. Some lights also do not occupy the module in its entirety, but extend only to the 3/4 or 2/4 of the module. This has created melodic rhythmic patterns that have given motion to the score. A six-voices fanfare came out (how many voices as the  floors of the”Velasca Tower" head).
The work is featured by the attempt to keep together two apparently discordant elements: the rhythm of architecture and the staticity of the building. 
The idea of ​​music (or art in general) that mimics nature and its phenomena has ancient origins. In this case the Velasca Tower (considering it as "nature", even if it is not) is a pretext, at least from two reasons.
On one hand, it is a pre-text, in the sense of a text that comes first and from which we move to create something new. 
The second point is that the Velasca Tower becomes an excuse to make music by delineating a link with an architecture work, that is to say, the astounding view of Velasca Tower as a sort of score.
Last detail to not underestimate: the sound atmosphere that comes from this experiment, which starts and ends with an electronic rhythmic rug of "glitch" and "noises" on which an imperial six-piece fanfare (1st trumpet, 2nd trumpet, 1st and 2nd horn, 3rd and 4th horn, Trombone and Tuba), recalls a certain climax and some idea of ​​the urban development of the metropolis typical of the 1950s, when the tower was erected in Milan.

Fanfare for the Velasca Tower

Fuga su di un tema di G. Frescobaldi
Dedicato a Barbara che va a sentire Bach suonato da András.

Fuga su di un tema di G. Frescobaldi

“In memory of the little soldier” is a work based on two main ideas. The technical idea is about the FFT synthesis. Let’s consider the FFT analysis of an audio file. Once we have converted into real and imaginary numbers amplitude and phase, we record the frames of spectral data into a buffer. In this way, we can index and then playback the spectral frames at a different speed and direction. Furthermore, if we change the audio file with another during the playback, we can also get a sort of morphing effect. The FFT synthesizer, which is a Max MSP application, is constituted by 8 FFT modules that share one data buffer. The distance in frames between the FFT modules is called offset. For instance, if the main module is on the 100th frame and in the meantime the offset value is 10, then the next module is on the 110th frame, the further one on the 120th frame etc.. So the spectra blend and blur frequencies and amplitudes from surrounding frames. Sometimes the amplitude modulation effect is added at the end of the process. Moreover, every single FFT module is connected to an output for the eight channels spatialization. At this point let’s take a few of audio files (a trumpet, a female singer, a male singer, a snare roll, and some percussion and effects) and let's make the synthesizer algorithmically do the job. The result (here is the musical idea) is a sort of inner military prayer. The work took part in the International Computer Music Conference 2018.

In Memory Of A Little Soldier (stereo reduction)

Francesco Bossi is a composer and sound designer whose work includes acoustic and electroacoustic music, video and multimedia installation. He holds degrees from Conservatorio di Genova, University of Bologna and Conservatorio di Milano where he graduated with highest honours in Electronic Music. His research is currently focused on the production of algorithmic/computer based custom synthesizers. His effort is to share contemporary music beyond academic audiences.

Francesco Bossi

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