In "Aftertouch", sound design and tone-colour research unfold through the experimentation of new sampling methods and the in-depth study of alternative synthesis techniques, such as the one based on physical models. The sound discourse is articulated through the musician's improvisation with a controller programmed for this purpose, without recording in the grid. The result is an imprecise, rough mix that depends directly on the performance and that ends with it. Texture-wise the human contribution to the composition is accompanied by a massive randomization variable, which modulates and activates virtual instruments as well as a wide range of audio samples. In this dialogue between the will of the artist and the coded yet random behaviour of the machine, the composition can never be reproduced in the same way: textures, details and rhythm change according to human sensations as much as they depend on the software algorithm. This type of compositional style, closely linked to the performative character of the work, invites us to explore the concept of sound subrogation through the use of tone-colours associated with acoustic instruments, such as winds, marimbas or xylophones, reproduced in an artificial way. These samples are ruined, decorated, glitched by randomization, and are presented live to the viewer following a synthesis process. 

The sonic influences mainly come from ambient music; in the final sections the distorted and frequency-modulated arpeggios recall the pointillistic trance of Lorenzo Senni, while the tone-colour research is inspired by the work of Giant Claw and more broadly by the whole Orange Milk Records roster.

Lights and moving images constantly interact with the musical composition, accompanying its evolution and providing a possible visual interpretation: they are an abstract representation of it. The same inputs are connected simultaneously to audio and video materials, determining an indissoluble bond between the two components of the work. Are we listening to a set of sounds, more or less indecipherable overall, or are we looking at images and light effects that can only be interpreted? Beyond artistic will, once these are saved in the machine, are they perhaps the same thing?

25’

A/V Live - WALTER MAGI and SINTETICO

Music by Luca Venturini

Visuals and Lights by Marco Calzolari 

In "Aftertouch", sound design and tone-colour research unfold through the experimentation of new sampling methods and the in-depth study of alternative synthesis techniques, such as the one based on physical models. The sound discourse is articulated through the musician's improvisation with a controller programmed for this purpose, without recording in the grid. The result is an imprecise, rough mix that depends directly on the performance and that ends with it. Texture-wise the human contribution to the composition is accompanied by a massive randomization variable, which modulates and activates virtual instruments as well as a wide range of audio samples. In this dialogue between the will of the artist and the coded yet random behaviour of the machine, the composition can never be reproduced in the same way: textures, details and rhythm change according to human sensations as much as they depend on the software algorithm. This type of compositional style, closely linked to the performative character of the work, invites us to explore the concept of sound subrogation through the use of tone-colours associated with acoustic instruments, such as winds, marimbas or xylophones, reproduced in an artificial way. These samples are ruined, decorated, glitched by randomization, and are presented live to the viewer following a synthesis process. 

The sonic influences mainly come from ambient music; in the final sections the distorted and frequency-modulated arpeggios recall the pointillistic trance of Lorenzo Senni, while the tone-colour research is inspired by the work of Giant Claw and more broadly by the whole Orange Milk Records roster.

Lights and moving images constantly interact with the musical composition, accompanying its evolution and providing a possible visual interpretation: they are an abstract representation of it. The same inputs are connected simultaneously to audio and video materials, determining an indissoluble bond between the two components of the work. Are we listening to a set of sounds, more or less indecipherable overall, or are we looking at images and light effects that can only be interpreted? Beyond artistic will, once these are saved in the machine, are they perhaps the same thing?

25’

A/V Live - Walter Magi and SINTETICO

Music by Luca Venturini

Visuals and Lights by Marco Calzolari