3D Audio, Headphones only:

"Vista sul Fosso Cupo" (2021) is a soundscape composition that blends the multifaceted environment of Bosco del Cugnolo with introspective and ethereal additive synthesis inspired by 20th-century French composers and the visionary Walter Branchi. Set in Torre di Palme (FM), the composition not only captures the serene beauty of the forest but also evokes the juxtaposition of nature's symphony with the intrusion of acoustic pollution from the nearby "Autostrada A14". The piece utilizes additive and granular synthesis spatialized in ambisonics, offering listeners a truly immersive auditory experience.

Drawing inspiration from the concepts of soundscape, the composition explores the depth and richness of the environment. The ethereal and introspective soundscape is masked by anthropogenic noises and merged with synthesis sounds inspired by 20th-century French composers like Messiaen, as well as the avant-garde brilliance of Walter Branchi, enveloping listeners in a sonic world that transcends traditional boundaries. The intricate techniques of additive synthesis add layers of complexity, creating an extraordinary auditory fabric that transports listeners beyond their immediate surroundings.

Within this auditory tapestry, the contrasting sounds of Bosco del Cugnolo come to life. Biophonic sounds the gentle rustling of leaves and the melodious calls of birds "coexist" with the disruptive hum of vehicles on the highway. These sounds are spatialized using ambisonics, allowing the audience to perceive them from all directions, creating an immersive experience akin to being in the heart of the forest.

In the first half of the composition, the distant tolling of the bell from the small church in Torre di Palme takes center stage. This poignant sound becomes a spiritual anchor, granularly resonating through the ambisonic space and connecting listeners to the historical and cultural significance of the landscape.

Interwoven into this auditory journey is the tragic tale of the "Grotta degli Amanti", a love story set against the backdrop of World War I. This narrative is harmonically intertwined into the composition, reflecting the human experiences that have shaped the forest over time. "Vista sul fosso cupo, fare attenzione."
The cavity owes its name to the love story of Antonio and Laurina. The young soldier, home on a brief leave, deeply in love with his beloved and terrified of losing her, decided not to return to the front lines and to flee with her. They sought refuge in this remote cave in the woods and lived out their love adventure, aided by fishermen and farmers who provided what little they could. Unfortunately, the story did not have a happy ending; after eight days, consumed by guilt and feeling pursued, overwhelmed by hardships and privations, rather than parting, the lovers chose death and threw themselves tied from the precipice. The 70-meter fall instantly killed Laurina, while Antonio sustained severe spinal injuries; he died a few days later in the hospital, guarded by military personnel. If he had survived, he would undoubtedly have faced a firing squad for execution.

"Vista sul Fosso Cupo" transcends conventional musical boundaries, embracing the avant-garde sensibilities of Walter Branchi while paying homage to the French composers who defined the modern music of 21th century. Through the use of additive and granular synthesis, ambisonics, and an evocative soundscape, the composition invites listeners to explore the depths of emotion, the resilience of nature, and the complexities of human existence within the context of a landscape that is both idyllic and acoustically disturbed.

Ecoacoustic compositions

Vista sul fosso cupo

3D Audio, Headphones only

Selected among the top 7 works created for 3D spatial environments in 10 years of LEMS (Laboratorio Elettronico Musica Sperimentale) activity in Pesaro for the international festival\competition "ISAC" 2023.

"Noise Knockout" (2022) is a soundscape composition that explores the contrast between
human-generated noise and the sounds of nature.
The recordings were made using a variety of microphones, including a stereo A-B
ortf, a diy binaural dummy head a diy 18" mono parabolic dish, and two first-order ambisonic microphones.
These microphones were strategically placed among the trees and streams of the
Scurosa Valley forest in Sefro (Macerata) to capture the sounds of amphibians, bird
songs (such as the Nightingale, Song Thrush, Wren, Blue Tit, Robin, Oriental
Collared Dove, Cuckoo), and the barking of Roe Deers.
The composition begins with a juxtaposition of field recordings of tree frogs and
frogs (enhanced with heterodyne synthesis, granulation, and comb filtering) with the
sounds generated by airplanes flying overhead, suddenly disturbing and interrupting
the amphibians' songs.
In the second part of the piece, the harmonious geophonic and biophonic sounds of
the forest are introduced, captured at close range.
Here, audio manipulation is achieved through granulation, phase vocoding and spectral freeze
processes using Max MSP, iem plugin suite and hardware granulators.. which amplifies and transforms the sounds of nature,
creating surprising sound effects.
The piece also includes the sound of the wind, (captured during a storm from a refuge) symbolizing the climate change
caused by human activity and its impact on normal living. The sound of the wind is
manipulated and modulated through spatialization techniques, assuming a turbulent
and disturbing character, and creating a sense of tension and disorientation.
Subsequently, with time stretching, the piece creates a
dynamic comparison between the sounds of nature and traffic noise.
By using filters, the natural sounds gradually prevail over human-generated noise,
masking them and offering a finale that highlights the serene atmosphere of the
natural soundscape.
This result would have been otherwise impossible without the aid of technology.
"Noise Knockout" offers an immersive sonic experience where field recordings and
digital processing are blended to create a unique soundscape.
The piece invites the listener to reflect on the complex relationship between the
natural environment and the impact of human activity on its sonic integrity and
more.

Noise Knockout

Prometheus

Pneuma

Night Soundscape captured by DPA 5100, mixed down to stereo

Night Soundscape at USJ 2 garden

Registrata presso il laboratorio LEMS del Conservatorio “G. Rossini”, questa improvvisazione collettiva nasce dall’incontro tra strumenti acustici, dispositivi elettronici e pratiche di live processing. Il gruppo, composto da Lorenzo Mandolesi, Francesco Coen, Jacopo Mazzoni, Jacopo Tangherlini, Pietro Serrani e Simone , esplora le possibilità timbriche e spaziali offerte da una Laptop Orchestra ibrida.

L’organico comprende laptop, chitarre elettriche processate in tempo reale tramite laptop, campionamenti manipolati e rielaborati dal vivo, una voce sottoposta a trattamento elettronico e un no-input mixer utilizzato come sorgente autonoma di suono.

L’improvvisazione si sviluppa come un flusso sonoro in continua trasformazione, dove il confine tra strumento, elaborazione e gesto performativo si dissolve in una tessitura elettroacustica collettiva. Il risultato è un paesaggio sonoro dinamico e cangiante, frutto di un ascolto reciproco profondo e di un approccio laboratoriale alla creazione musicale.

Registered at the LEMS laboratory of the Conservatory "G. Rossini", this collective improvisation was born from the meeting between acoustic instruments, electronic devices and live processing practises. The group, composed of Lorenzo Mandolesi, Francesco Coen, Jacopo Mazzoni, Jacopo Tangherlini, Pietro Serrani and Simone, explores the timbre and spatial possibilities offered by a hybrid Laptop Orchestra.

The staff includes laptop, electric guitars processed in real time via laptops, samples manipulated and reprocessed live, a voice subjected to electronic processing and a no-input mixer used as an autonomous sound source.

Improvisation develops as a sound flow in continuous transformation, where the boundary between instrument, processing and performative gesture dissolves into a collective electroacoustic weaving. The result is a dynamic and iredicent sound landscape, the result of deep mutual listening and a laboratory approach to musical creation.

Laptop orchestra + no input mixer - LIVE ELECTRONICS IMPRO 26_02_25

Album: - REWIRING - [music for headphone] 2008

Talkbackparrot - HUMAN COUNTERPOINT

Talkbackparrot - MAIN ENTRANCE

Talkbackparrot - dial tone

Original soundtrack for a contemporary dance performance.

Progetto di ricerca sui linguaggi sonoro e corporeo scaturito da una riflessione filosofica sulla percettività umana e lo stato patologico in cui verte. Fabio Damiani e Michela Mora sono le menti di Medulla, “stati aggettivi” è il primo lavoro del duo. Gli aggettivi con cui l’essere umano si autodescrive, mappa il mondo e immagina l’altro, sono input emotivi, cause vibranti. Ogni azione è reazione a questi stimoli, è effetto, ed è concatenata coerentemente con l’azione successiva. Insiemi determinati di azioni visibili ed invisibili, esperite o potenziali, disegnano le forme del reale: orizzonti chiusi e concreti, ma momentanei. “Stati aggettivi” che si manifestano nella speranza di un risveglio dell’individuo.

Medulla //stati aggettivi.

Lorenzo Mandolesi, born on April 9th, 1993, is an Italian sound designer, musician, composer, and audio engineer. His career is marked by an unwavering pursuit of "perfection" in the sonic realm, not only shaping sound but also listening intently to the silence, where few can detect what lies hidden. From this profound stillness, he draws out sounds, transforming silence into a rich canvas for exploration and creativity.

After completing his scientific studies, tried politics and communication, but Lorenzo followed his passion for music and sound by enrolling at the Rossini Conservatory in Pesaro. There, first he study percussions\drums and last Electronic Music deepened his knowledge in various disciplines, including sound design, audio engineering, electroacoustic composition, ecoacoustics, field recordings, and digital audio programming.

He has always maintained that sound is not merely about duration or frequency, but something deeply spherical and round. It has is own space. "Sound is an art; one must reach the heart of sound." For him, being a musician goes beyond mere technical skill; it is a matter of empathetic listening, a journey into the very heart of music.

Lorenzo has never stopped exploring the potential of sound. He has worked closely with the Conservatory and other public and private institutions, recording concerts, creating installations, immersive audio in ambisonics format executions, and providing live electronics for theatrical performances. He also worked as field recordist for ecoacoustics projects.

Selected with his electroacoustic composition "Noise Knockout" among the top 7 works created for 3D spatial environments in 10 years of LEMS (Laboratorio Elettronico Musica Sperimentale) activity in Pesaro, this prestigious recognition at the international competition "ISAC" once again showcased his ability to create three-dimensional sonic worlds.

Additionally, he has his own self-built recording studio specializing in 3D productions and currently serves as a composer-producer and percussionist for the project "For Trees"

Lorenzo has a wide range of interests, including hiking and trekking, swimming, calisthenics, DIY projects, luthiery, electronics, avant-garde music, tending to his garden, and birdwatching.

Laptop orchestra + no input mixer - LIVE ELECTRONICS IMPRO 26_02_25

Mandolesi Lorenzo