Workshop & Konzert mit Dafna Naphtali und Hans Tammen

Datum: 29.06.2012 




"Live Sound Processing Strategies for Multi-channel Sound" 

mit Dafna Naphtali

12.07.2012, ELA 5, 12Uhr 

Dauer: ca. 4 Stunden 


Konzert: "Endangered Guitar: THEBIT"

mit Hans Tammen

13.07.2012, ELA 1, 20Uhr 

Dauer: ca. 1 Stunde 


"Live Sound Processing Strategies for Multi-channel Sound"

To perform with "Live Sound Processing" as an instrument is to alter and affect the sounds of other instruments live and in performance, in the process creating sounds that in turn become their own unique voice in the musical tableau of the performance. The acoustic environment of a performance always has an impact on how any given sound process might behave, so one could view each performance as site-specific. The musician acting as Òlive sound processorÓ must always react not only to the other musicians and how they are playing their instruments, but also to the responsiveness and spectral qualities of the room. 

The difference between live sound processing and other electronic music practices has been difficult for audiences to understand, (also for many musicians). In recent years, however, the complex role of the live sound processor is become more accepted by many different musical communities. Live sound processing is no longer simply the domain of a live sound engineer in the back of the hall, but has also become a role for composer or performer on stage, in classical music, jazz, and electronic dance music among others. 

With faster laptops and more widespread use and availability of classic live sound processing as plugins, these techniques have gradually become more commonplace, and in some music genres practically expected. ÊBoth performers and audiences have become more knowledgeable about many of these techniques and recognize the sounds they can produce. 

At the same time, multi-channel sound systems have also become more available, ranging from Surround Sound 5.1 systems, to 10+- channel ÒPoint SourceÓ sound installation environments, Ambisonic cubes, and as in Hamburg, a highly configurable 300+ speaker Wavefield Synthesis systems. 

Using live sound processing techniques in a multi-channel sound environment adds yet another level of complexity, but one that can yield very interesting and acoustically complex results. 

This workshop will explore various live sound processing techniques used in a multi-channel sound environment and strategies through performance, lecture and presentation, and gives participants a foundation to develop their own work. Specifically working with the Wavefield Synthesis system and Holophone 7.1 microphone at Hochschule fŸr Musik & Theater Hamburg to do multi-channel recordings and processing. 

The lecture/presentation will be given by Dafna Naphtali (who uses live sound processing in her work since 1995, multi-channel work since 2001). 


Dafna Naphtali has been performing since 1995 with "live sound processing" as one of her ÒinstrumentsÓ, along with her singing and extended vocal techniques, and sometimes guitar playing. ÊShe is not simply processing her own sound, but also that of all the other members of the ensembles she has formed or in which she has participated. Using her own custom Max/MSP programming and some advanced control of an Eventide H-3000 sound processor, she adds a unique sound and electro-acoustic voice to her ensembles, making use of filtering, delay, and feedback under her tight control to create polyrhythmic musical interjections and textures, using metronomes, Morse Code and incoming audio signals. 

She also has since 2001 developed many pieces and an aesthetic for utilizing multi-channel sound systems. She was an engineer for many Artists in Residence projects at Engine 27 (2001-2003) and at Diapason Gallery (NY). Her own performance pieces have been presented at Issue Project RoomÕs Floating Points multi-channel sound festival (Ô06 & Õ10) and at Diapason.


Endangered Guitar: THEBIT

Hans Tammen will present THEBIT, an extension of his recent works for modified surround sound systems, consisting of two independent voices simultaneously drawn from his guitar. With a wide array of mechanical preparations for guitar, processed with his own custom software and with an unusual take on guitar-based control, a single voice is set against a micropolyphonic pattern surrounding the audience. For THEBIT, Hamburg’s Wavefield Synthesis System will allow for complex movements of sounds following the nature of their own inertia, unless the composer introduces small but controlled variations. Some take on a new musical life on their own, others die out at a very early stage of their existence. The random drift moves the piece slowly into new directions, investigating complex stages of tranquility and agitation. 


Hans Tammen creates sounds that have been described as an alien world of bizarre textures and a journey through the land of unending sonic operations. He produces rapid-fire juxtapositions of radically contrastive and fascinating noises, with micropolyphonic timbres and textures, aggressive sonic eruptions, but also quiet pulses and barely audible sounds – through means of his “Endangered Guitar” and interactive software programming, by working with the room itself, and, as a critic observed, with his “…fingers stuck in a high voltage outlet”. Signal To Noise called his works “…a killer tour de force of post-everything guitar damage”, All Music Guide recommended him: “…clearly one of the best experimental guitarists to come forward during the 1990s.”

Mit der Unterstüzung des Zentrums für Mikrotonale Musik und Multimedia (ZM4). 

Autor: Konstantina Orlandatou