After long years of playing piano and trying out different experiments participating in hacklabs and programming in Processing and Supercollider, Szakál Farkas Soma ended up at ZKM in Karlsruhe, where he experienced 4DSOUND for the first time. According to Szakál it is impossible to split sound's spatiality from the physical space a performance takes place in. He reckons 4DSOUND offers the possibility to articulate different spatial qualities and a more vivid spatial experience depending on the location of the sound sources.
This is what used as a base of his piece. After analysing the capabilities of the system he started to compose spatial counterpoints, focusing on each sound object acting with different speed and their collision and interference with each other. As a base he used recorded sounds from a junk heap - trash heap - and these many micro gestures were treated in variations of groups and finally exfoliated into ‘Kinetics’ - a piece with it’s own evolving unpredictable narrative.
Szakál used ProTools as his Audio Workstation to compose the piece, and integrated the control of the 4DSOUND system through OSC messaging in his arrangement using the Max driven plug-in ToscA. This setup allowed him to work on very detailed audio editing directly integrated with multiple spatial parameters which were meticulously automated.
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This is what used as a base of his piece. After analysing the capabilities of the system he started to compose spatial counterpoints, focusing on each sound object acting with different speed and their collision and interference with each other. As a base he used recorded sounds from a junk heap - trash heap - and these many micro gestures were treated in variations of groups and finally exfoliated into ‘Kinetics’ - a piece with it’s own evolving unpredictable narrative.
Szakál used ProTools as his Audio Workstation to compose the piece, and integrated the control of the 4DSOUND system through OSC messaging in his arrangement using the Max driven plug-in ToscA. This setup allowed him to work on very detailed audio editing directly integrated with multiple spatial parameters which were meticulously automated.
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Related:
Points on the Curve (2016)