Electroacoustic music

demo set - chamber music and electronic music

Clarinet: Daniel Pastene
Recorded at Orpheus inistitute by Juan Parra Cancino

Brachycalix

electro-acoustic track based on sounds created by our neighbours at the Logos Foundationn (Gent, Belgium)

145+

Phass is an electroacoustic piece. The source material consists of all sounds i could produce with a plastic bottle. These sounds where processed electronically, in a way that made them for the most part irrecognizable. The piece is a study of the effects that originate from the layering of several instances of one sound with slight and varying phase differences. With this technique, a whole range of sounds can be produced, ranging from piercing drones to pulsating rhythms.

Phass

Redshift is, after Phass, a second electroacoustic piece in which i explore the creation of new sounds using several layers of a sample with different frequency and phase shifts. With this technique, i created a variety of sonic material derived from a limited number of source samples.
The title refers to the physical fenomenon where light, or another kind of radiation, is shifted down to the lowest (red) end of the electromagnetic spectrum. This can for example happen due to a Doppler effect when a light source moves away from the observer.
One of the main sound effects used in this composition is a Doppler plugin that allows extreme parameters, mimicking very fast and big movements of a sound source so that the frequencies are shifted out and back into the hearable range from the viewpoint of the listener. 

Redshift

for 9 guitars

This is kind of a radical remix of Sir John Longton, His Pavan, a consort piece by rennaissance composer John Dowland. It is based on a frequency analysis of a recording of this piece, from which i retained only the most striking changes in the spectrum. As a result, much of the original harmony of the piece disappears to the background in favour of more rare spectral components.
For a composition based on a rennaisance piece, historical instruments where an obvious choise, so it is written for theorbo, harpsichord and gamba, but the sounds of those instruments are also live processed by a Pure Data patch
This piece has been premiered by Dirk Moelants (gamba), Matthias Trofaes (harpsichord), Thomas Smetryns (theorbo) and myself (laptop).

Sir John Longton, revisited

This piece for two guitars is, both on macro- and microlevel, based on the repetition of a limited number of musical elements, that are gradually built up and modulated in different parameters. The nature of the modulations is fixed in the score, but the filling-in is largely up to the performers

This piece was written for the guitar duo Saffraan.

Doskordianistick

Thintroppoinmealways is a piece for two voices and interactive electronics. The voice sounds are continuously recorded, analysed and transformed by a computer program built on GMT and Pure Data. The transforamtions of the voice sounds are then used as an answer to new sounds made by the voices. Which transformations exactly happen is partly predetermined, but is also dependent on the pitch, the volume, the rythm, ... of the voice sounds.

This piece was written for Maja Jantar and Jelle Meander.

Thintroppoinmealways

peral.situal

One of my very first electroacoustic pieces. I started constructing the piece out of recordings of a large number of different kitchen knives and other cutlery. These appear both untreated and processed (stretching, filtering and reverb). The piece was edited on Soundscape and the digital processing of the sounds was done with Soundscape, Samplitude and Lexicon. This piece was made at the Logos electronic music studio.

Phass

Kristof Lauwers