UserGuidePDF is a track composed of really singular sound, in fact it is entirely made of audio created by the translation of a PDF file in to sound.
The PDF has 919 pages, it contains text, images and web links. The translation of the PDF in to audio, generated a relatively long and rich sound file, this file has then been cut and layered creating the piece.
The track has been entirely created in three days (14-15 February).
PDF to audio conversion made in Audacity, sound processing and composition made in Logic.


UserGuidePDF

The track borns from different short improvisations, realized using digital instruments such as auto-generative and random systems. Following casual common points and shared sound characteristics, samples has been organized and associated, giving an order to the chaotic material. The general structure of the piece also borns by the interpretation of “hints” given by chaotic events contained in the sound itself.
The track has been entirely created in ten days (06-16 March 2014).
Samples crated in Max/MSP and Reaktor.
Composed in Logic.


Organizing Random

AluFeed is a composition that uses samples recorded in 2011 while making the first implementing tests of the art piece Object (http://cargocollective.com/stefanodalessio/Object), realized with Martina Menegon (http://martinamenegon.tumblr.com) in 2012. 
“Object is an interactive, kinetic, sound sculpture.
It is a digital/analog hybrid system, able to react to the environment and to the changes that take place within itself. The sculpture present itself as a aluminum plate, it is implemented thanks to an intelligent mechanical system, capable to capture and create sound through aluminum's vibrations.
The plate generate tension, an action at distance, between itself and any kind of body getting close to it, the metal tends to get distance from anything approaching, bending itself. This bending influences the relations between the various components of the system, generating dynamic and unpredictable sound that increase his volume proportionally to plate's bending, reacting to the proximity of other bodies.”
The track has been entirely created in three days (28-30 March 2014).
Composed in Logic.


AluFeed

Cos(π/2-x) is a piece composed using only pure digital sine waves.
It develops in time keeping an extremely minimalistic harmonic range and exploiting fundamental characteristics of sound as amplitude, duration, continuity, variation. These elements are used to minimally manipulate sine waves, and structure them in to a dynamic composition.
The track has been entirely created in three days (4 - 6 April 2014).
Sounds created in Max/MSP.
Composed in Logic.

Cos(π/2 - x)

ReBounce borns from an improvisation done combining a feedback system and a Cellular Automaton midi sequencer. The events generated by the sequencer altered the feedback system proprieties and drove the initial sounds fed in to it. The resulting track was cut up, layered with itself, and reinforced with additional sound processing, enhancing its structural and sonic characteristics.
The track has been entirely created in three days (25 - 27 April 2014).
Midi generated with Glitch-Sequencer. Composed in Logic.

ReBounce

Times is born from a short improvisation done with a guitar and a Monotron Delay.
The original sample has been time wise processed in many ways, freezing, stretching, reversing, buffer mangling. A couple of sound layers has been then added to support the main guitar material.
The track has been entirely created in three days (09 - 11 May 2014).
Composed in Logic.

Times

Chants is a piece in which all sounds are obtained from three short recordings, two “phrases” of modern indian chant and one wind recording. While the original material is obviously sounding realistic and natural, the track aims to process the sounds in many ways so that they would mutate, becoming abstract but without loosing their fundamental characteristics.
The track has been entirely created in two days (17 - 18 May 2014).
Additional granular synthesis done in Cecilia.
Composed in Logic.

Chants

SpecularG is a piece that is born as a metal track but developed deviating to electronic. The track has as its basic, riffs of executed sound material, “real” instruments such as electric guitar and drums, but it mangles them thru temporal sound processing, fragmenting, stretching and randomizing. The use of electronic sound processing on non electronic material makes it stands right in between two different music genre.
Composed in Logic.

SpecularG

Sine waves for cymbal, cat and coins is a strict and mathematical piece. The track structure is built with two minutes sound blocks, each of these created by a two minutes sine wave driving the execution of a recorded sample in different ways.
Sound created in MaxMsp
Composed in Logic.

Sine Waves For Cymbal, Cat And Coins

Giudecca is a piece that arises entirely from one field recording sampled in the Giudecca island of Venice in 2013. The recording captured church bells chiming from a close distance. Intensities vary from fast and powerful tolls descending to the sparse, delicate, ending to almost silence where just the sound of the tense oscillating rope is hearable. The bells recording has been cut and digitally modified in variable manners, detaching it from its natural sound but without loosing its particular timbre.
The track has been entirely created in four days (08-11 July 2014).
Composed in Logic.

Giudecca

Slightly more… Again is a track completely realized using a Korg Monotron Delay as only sound source. The Monotron output has been fed back in to the Aux input, creating a feedback loop and most of the recordings have been done misusing the instrument, powering it with very low battery. The loss of current gave the instrument an instability that permitted unusual sound to be created and amplified by the feedback system.
The track has been entirely created in three days (16-18 July 2014).
Composed in Logic.

Slightly More... Again

Eight Variations is an electric guitar piece, its structure develops repeating a theme for eight times, each repetition mutates slightly its form and changes scale so that eight scale are eventually executed. The guitar is constantly in feedback, its sound is routed to a car amplifier connected to an elector dynamic exiter sticked on the back of the guitar’s palette. The exiter's vibrations make the guitar strings constantly resonating thru their own sound. 
The track has been entirely created in four days (22-25 July 2014).
Composed in Logic.


EightVariations

3310 is a piece born from a short improvisation done using a launchpad as physical instrument.
A custom MAX/MSP software gives the possibility to interface the launchpad with melodic and harmonic rules via midi in/out and eventually the midi flow feeds Madrona Labs Aalto plug-in creating the main sound layer. A secondary layer is created feeding the Aalto output to a feedback loop containing a modulated reverb and a Monotron Delay. The improvisation recording has been finally polished and slightly restructured.
The track has been entirely created in four days (28-31 July 2014).
Composed in Logic.

3310

Flocking is a piece that uses samples of magnetic fields recording of planets translated in to sound,  and flocking simulation to distribute the sounds over a 8 channel speaker array.
The samples are fed in to the flocking simulator, that moves its particles following a determinated set of rules and values, by altering these values the flock changes behavior and so the sounds.
The 8 channel array has been finally translated in to a binaural stereo track.
The track has been entirely created in two days (08-10 August 2014).
BATboids (BEASTtools) for MAX has been used for the flocking simulation.
Composed in Logic.


Flocking

Chili Nut is a track realized thanks to a MAX patch (Meshuggahtor) i developed in 2011 but never actually used for creative purposes. The patch takes few parameters as input: time signature of snare, time signature of bass drum, number of bass drum hits inside the defined time signature range. Following these rules, the patch randomly generates and plays a drum pattern, generating MIDI datas. The MIDI flow as been recorded in Logic, used to play the main sound layer of percussive sounds, but also routed to modulate parameters of other instruments via Logic’s environment, so that they would mutate their characteristics in sync with bass drum, snare or hi hat hits.
The track has been entirely created in four days (12-15 August 2014).
MAX used for generative MIDI.
Composed in Logic.


Chili Nut

Crossing is a track entirely composed of convoluted samples. All sounds have been created by convolving selected sample pairs of different nature, from arhythmic, ambient sounds to percussive loops or granular soundscapes. The results gave unpredictable dynamic and rhythmical material, regular and irregular at the same time, with wide stereo image.
The track has been entirely created in thee days (22-24 August 2014).
MAX (Beast tools) used for convolution.
Composed in Logic.

Crossing

Noise2Noise is a composition that explores processed white noise: gated noise, distorted noise, resonant noise, compressed noise, stretched noise, granulated noise, pitched noise, buffered noise, filtered noise,  noise modulated noise, noisy noise…
The track has been entirely created in six days (25-30 August 2014).
MAX used for custom sound processing.
Composed in Logic.

Noise2Noise

Bored to think… just form, no concept, no research, no custom developed instrument or interesting 
modus operandi, no special samples, no bla bla bla. Bored to think is just a music track developed with no other focus beside the one of making music itself.
The track has been entirely created in six days (1-6 August 2014).
Reaktor widely used.
Composed in Logic.

Bored To Think

The One and its multiples it is a electric guitar piece. It borns from a single short guitar riff that is looped thru the whole track and fed to a dynamic variety of sound precessing.
From a short and repetitive pattern develops a flow of sounds that transforming it creates a consecutive flux of soundscapes.
The track has been entirely created in four days (11-14 September 2014).
Composed in Logic.

The One and Its Multiples

Well screwed borns from a short improvisation realized controlling a digital feedback system with a 8 knobs one button midi control interface. The sound is created mainly by a Skrewell Reaktor Ensemble combined with an additional feedback loop containing distortions and a random variable time delay.
This system tends to generate unpredictable and continuously evolving soundscapes, that are although partly controllable by its main parameters, the one physically interfaced as controls during the improvisation.
The track has been entirely created in three days (18-20 September 2014).
Reaktor used for sound generation.
Composed in Logic.

Well Screwed (part - 1)

Well screwed borns from a short improvisation realized controlling a digital feedback system with a 8 knobs one button midi control interface. The sound is created mainly by a Skrewell Reaktor Ensemble combined with an additional feedback loop containing distortions and a random variable time delay.
This system tends to generate unpredictable and continuously evolving soundscapes, that are although partly controllable by its main parameters, the one physically interfaced as controls during the improvisation.
The track has been entirely created in three days (18-20 September 2014).
Reaktor used for sound generation.
Composed in Logic.


Well Screwed (part - 2)

State of Awareness is a generative music piece, created by a digital system that chaotically transforms its characteristics, following hints and peaks generated from its own sound, circularly interacting with itself.
This self generated sounds are used as main layer and as structural basis in the final piece.
Other layers and sound processing are juxtaposed as support, following the lead of the main track.
The piece has been entirely created in ten days (03-12 October 2014).
Integra Live used as generative music environment.
Composed in Logic.


State Of Awareness

DST is a piece realized making wide but simple use of the DelaSaurus plug-in, all tracks have one exemplar of the DelaSaurus loaded in and non of the plug-ins parameters has been automated.
Composed in Logic.
DelaSaurus is a free stereo delay unit that won’t sound as a normal delay at all as it gives the possibility to modulate its delay time with a wide range of LFO shapes, and to crank up the feedback to 150% generating hyper saturated, never ending feedback loops.
There are 7 LFO main shapes “selectable” via a wide slider that permits not just select them but to continuously fade between wave shapes, in plus there is a SLEW parameter that allows to soften the edges of the LFO shape, giving even more sonic possibilities.
DelaSaurus is an audio effect that can be used for any sound purpose, it can be delicately used as tape delay or detuning effect, but also for hardcore random driven feedback loops, percussive glitchy wobbly delays or weird wave shaping.
http://2321audio.tumblr.com
http://www.pluginboutique.com/product/60-Reaktor-Ensemble/1281-DelaSaurus

Tritium Oxide is an electronic composition created using the Microbrute synthesizer and the DelaSaurus software plug-in.
The track crosses different soundscapes, extensive and distant ambiences, heavy present gritty noises, mutating materic feedback sonorities, generating tonal and atonal moments with different texture intensities.
The Microbrute has been used as the only sound source, sometimes triggered via midi by MAX/Msp, like in the initial part, where the pulses randomly and arrhythmically augment of density. The Microbrute patches conceived for this piece were multiple and extremely diverse, from highly overdriven noises to really simple and plain tones, to highly tweaked and modulated sounds.
The DelaSaurus has been used to generate rhythmical patterns and ambience but also for modifying the tonal structure of the sound source. Automating its parameters was possible to create organic feedback transformations that developed in a materic and chaotic flow of sounds.
Sounds created with Microbrute and DelaSaurus
Composed in Logic


Tritium Oxide

I was born in Trieste (Italy) in the late 80s and grew up swimming in salty water, playing in metal bands and drinking local wine at the Slovenian border.

Since more than a decade I work as media artist and director, performer, music composer and educator. 

My works are audio-visual compositions, interactive performances media installations and are regularly shown in international festivals. I hold workshops and teach in various European universities. (Univ. f. Angewandte Kunst Vienna, IUAV Univ. of Venice, Kunst Uni. Linz, Hyper Island Stockholm)

My research addresses internet induced societal issues and explores the multiple influences that the web and its derivates have on the human behaviour and body.

My practice focusses on communicative human-machine interaction. I develop interactive audio / visual instruments that are expressive for the performer but also understandable and meaningful for the viewer. My pieces incorporate the body as active entity in close interaction with technology, where sound, light, visuals and human physicality become performing partners. 

I completed a BA degree in Visual and Performing Arts at the IUAV Univ. of Venice and a magister degree in Transmedia Art with Brigitte Kowanz at the Univ. of Applied Arts Vienna. In 2021 the Austrian Federal Ministry of Art and Culture awarded him with the Startstipendium for media arts. 

I physically exist and create in Vienna (AT).

Stefano D'Alessio

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