“AJAX” is an electroacoustic exploration for double bass and electronics, first performed live in Sydney, 2024. This piece delves into the dialogue between acoustic resonance and live manipulation, creating a soundscape that is both intimate and expansive. It reflects on the interplay of control and chaos, structure and spontaneity.

Instruments - Double Bass, Spring Bow, Zip Bow, Motor Bow, Normal Bow, Schertler pickup, DPA 4061, numerous effect pedals and foot controls
Rosins: Nyman, Pops, Kolstein, Liebenzeller

AJAX

“EASTER EGGS FOR MY NEIGHBOURS” is an experimental composition that blends ambient textures with subtle rhythmic elements. Crafted during the reflective period of Easter 2025, this piece explores themes of solitude and the hidden connections that bind us. The track invites listeners to uncover the layers of sound, much like discovering hidden 'easter eggs' in everyday life.

Instruments - Double Bass, various prepared bows, Clicker modular setup, Voice, Schertler pickup, DPA 4061, numerous effect pedals and foot controls, Vermona spring reverb, Nagra 4.2 (tape loop), tape manipulated noise sound recordings
Rosins: Nyman, Pops, Kolstein, Liebenzeller

EASTER EGGS FOR MY NEIGHBOURS

“SCALP AND DEAD CORAL” is an electroacoustic composition that delves into themes of decay, transformation, and the interplay between the organic and synthetic. Combining unprocessed double bass to create textures and densities. The piece creates a meditative soundscape that reflects on the erosion of natural forms and the emergence of new structures. This work is part of an ongoing exploration into multisensory installations, aiming to integrate sound and visual elements to evoke visceral experiences.

Instruments: Double Bass tuned 4th higher, Motor Bow with variable speed, AKG 414 condenser microphone
Rosins: Maurel liquid rosin, Nyman, Pops, Kolstein, Liebenzeller



SCALP AND DEAD CORAL

17 06 2025 pm #3 S&DC point 1 solo for Soundcloud

The sound of acoustic double bass pulses that tighten and slacken referencing the spiders web.
Instruments: double bass and mechanical motor bow
Rosin: Samuel Kolstein
W: markcauvin.com

Spider Light

Performed on acoustic double bass with a motorized bow, Through the Air carries a sense of drift, friction, and invisible presence. The instrument hums and pulses with movement—at once grounded and disembodied—like something felt more than seen.

Through the Air

Instruments
Modular synthesizer, fuzz, nagra 4.2 (mono) tape loop, contact pickup, condenser microphone, motorised bow, double bass, rosin

DRENCHED I

DRENCHED II dives into the viscera of sound, where submerged textures and distorted resonance evoke a sense of emotional saturation. Shifting between moments of vulnerability and intensity, the piece unfolds like a slow implosion—immersive, raw, and unrelenting. A meditation on weight, pressure, and catharsis through noise.

DRENCHED II

DRENCHED III pushes deeper into submerged sonics—dense, fractured, and slow-burning. Swells of distortion meet fragile harmonics, creating a sound world that teeters between erosion and emergence. It’s a descent into the undercurrents of feeling: heavy, distorted, and beautiful in collapse.

DRENCHED III

DRENCHED IV unfolds like a submerged memory—obscured, decaying, yet pulsing with life beneath the surface. Layers of distortion, sustained pressure, and broken tonal fragments move in and out of focus, evoking the sensation of being suspended in a dense emotional tide. A study in weight, rupture, and sonic persistence.

DRENCHED IV

DRENCHED V continues the descent—fractured, tactile, and unflinching. Layers of crushed strings and saturated low frequencies unfold with raw immediacy, pushing physicality to the surface. Feedback and pressure interact like weather systems, heavy with intent and unpredictability. A sonic terrain of rupture, decay, and unspoken resilience.



DRENCHED V

Creator of electroacoustic material with Double Bass Skeleton Bass, Tape Machines, Effects, Springs, Zips, Motor Bow, and Microphones.

Mark Cauvin

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