These processes are the basis of the dispersed sonic output of the installation period. Their internal processes of feedback auto-regulation and continuos automated granulation of periodic sampling of the feedback network´s outputs, create the sonic vocabulary which occupy all the outputs in the electroacoustic device. These processes are independent of my presence as a performer (manipulating the device) and therefore the device slowly transforms itself into a permeable space that the audience can experience as an installation.


The following videos and audio recordings show different modes of interaction between the cello, the stereo PA and a couple of external objects (i.e. cymbals) with the software in installation mode

DEMO 1. Just the feedback network active.

DEMO 2. Just the granulation process working.

DEMO 3. Both processes interacting.


Studies for the exploded cello III

Live improvisation using the automated processes of the software.

Track list:

I —– 02:31

Articulation between the internal feedback and the feedback network operating with fixed pulses and auto-feedback off.

II —- 01:23

Articulation between the four signal pan-delay vocabulary with automated granulation and feedback network processes.

III — 01:54

Articulation between direct cello (low register) and granulation automated processes.

IV —- 00:58

Articulation between direct cello (natural harmonics) and granulation automated processes.

V —– 02:06

Articulation between direct cello (bow starts in spiccato motion and transits to soft bow hair noise) and granulation automated processes.

The last three studies show how the automated sampling of the played material influence the grain soundscape.