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♢♢♢ Gray Whale ♢♢♢
we HAVE TO migrate.
Giovanni Lami: live electronics, programming
Simone Marzocchi: prepared trumpet
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ITA
Nato nell'autunno 2010, il progetto Gray Whale vede l'intervento elettronico applicato in tempo reale al segnale della tromba creando così complessi livelli sonori stratificati anche totalmente diversi dal suono originale. La possibilità di manipolarli forma molteplici textures che costituiscono la base del nostro metodo musicale, mantenendo sempre come vincolo l'elaborazione del solo segnale derivante dalla tromba, voglia questo dire semplicemente amplificarlo "pulito" o, all'opposto, lavorare sulla risonanza in aria che si viene a creare tra i microfoni a contatto applicati alla campana o alla sordina, come fosse una distorsione fisica della stessa percezione uditiva; senza in ogni caso nessun segnale nativo che provenga dall'elettronica/DAW.
Si unisce così ricerca timbrica ed espressiva sulla tromba e sui segnali che essa invia all'apparato elettronico a ricerca compositiva aleatoria e non., suoni che escono da un volume denso, a volte scuro a volte cristallino, che non li rivela quasi mai per ciò che realmente sono, ma solo come sedimentazioni di elaborazioni successive che creano diversi sentieri sonori sui quali si sviluppano sonorità melodiche o rumori dissonanti, oggetto anch'essi della ricerca sonora.
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08/10/2010 Festival della Palude, Russi, Ravenna.
07/11/2010 Ex-pescheria (Conservatorio B.Maderna &amp; Cesena Comics), Cesena.
28/11/2010 Clandestino (Phon 2010), Faenza, Ravenna.
27/12/2010 DalVerme, Roma
28/12/2010 Muviments Festival, Itri, Latina
29/12/2010 Muviments Festival, Itri, Latina
04/06/2011 Aula del Mare, Ancona.
02/07/2011 TagoFest VII, Massa.
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ENG
Gray Whale project was born in autumn 2010 when two friends and musicians decided to explore different paths in electroacustic/ambient/drone/noise music using an instrument not so common on this field, a trumpet, prepared and processed with analogue and digital electronic stuff.
The electronic action is real-time applied on the trumpet signal to create complex and stratified levels of sound, often totally different from the original one; several textures are created manipulating these layers and we can say this is definitely the base of our musical method. Additionally we have a strict dogma concerning our modus operandi: we manipulate and modify the trumpet’s signal only, both if it means just amplifying it dry, or working on the resulting resonance between the contact microphones applied on the bell or on the mute, in this case as a “physical distortion” of the aural perception. In any case we don’t have native sounds come from the DAW, but this is not a restriction for us, opposite, it’s a way to explore a (this) particular way of making music deeper and deeper, every times one step further.
We combine timbre and expressive research on the trumpet and its signals to the electronic components to variable and fixed arrangement; sounds came from a thick volume, sometimes dark, sometimes crispy doesn’t show them on their original form (not so often), but only as sedimentations of batch processing resulting in several path on which we develop melodies or dissonant sounds, that are also part of our acoustic research.

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