The sleep solution

playing music that happens just when – and if – the listener allows it to do so is an interesting challenge that may bring using unusual strategies.
Attending to a concert of “ambient” music is nothing particularly attractive if standing or sitting on a chair.
This is surely not the best way to get comfortable enough to let yourself go and reach the state of mind that allows these sounds to reach your inner self and – eventually – move you.

The public in the middle of a quadriphonic audio environment

Open air sleep concert in the countryside

It all started in 2014 with a small winterly event for friends, when me and Tiberio played what became the seed of our sleep concert series.
We didn’t even know how to call the thing, however it was immediately clear that inviting people to lay down on a bed surrounded by very soft lights could help even the most resistant ones to relax and let sounds reach the deep.

Different ways of letting music go in and through you

Winter sleep concert

Since then we’ve been performing Sleep Concerts in small rooms, big gardens and immense malls. As a duo or in ensemble with sensitive and generous musicians as Vittorio Guindani, Simone Lombardi, Stefano Castagna, Lino Capra Vaccina, Giorgio Presti and Fabio Mina.

pale faces like ghosts who are not meant to reveal themselves

the invisible stage

The most beautiful thing is knowing this has been a way for many to approach a music – and a way to make music – that would have been very difficult them to listen to otherwise.
The hope is this has been a way to make them feel the potential of music when you allow it to come in and move yourself, when you allow it to get there with no fear.

bowing is a privilege

sleep concert open air at the beginning of the autumn

Holger Czukay

Holger card at time of a new release

one of Holger’s card. He used to always place one in the envelope when sending audio tracks back and forth while working on a project. Audio files were sent on data cds at that time.

It was 2000 or so when me and Holger Czukay began to collaborate together.
The first project we did together was an album titled Linear City but, beside some recordings we’ve shared since then ( see also 21st Century) , the spiritual presence of this man became constant in my life.
His joyful manners have always been gently expressed in his postcards, messages and conversations.
I still have some of the postcards he was putting in the packages we were exchanging at the time when it was not possible to share large audio files via the internet.
They were expressing taking fun seriously, and they always made me think about the intention and the attitude behind my music making.

He will always be a reference of how growing through music can make a human being bright of pure beauty.

 

Music for Paolo Cavinato’s depths

After physically seeing Paolo Cavinato’s sculptures on exposition in the magnificent Palazzo Ducale in Mantova I have a better understanding of the reason why Mario Piavoli thought we three should have met.

Mario Piavoli has chosen one of my new songs to be the soundtrack of his video about Paolo Cavinato’s work.

I think it’s all about confidence in the depth, a serene exploration of the void.IMG_0013 IMG_0017 IMG_0022

New Sleep Concert. Just stars, no moon.

After our first sleep concert in March, 2016, I’m happy to be back with this quartet for a new summer edition, which will be held in Selva Capuzza, San Martino della Battaglia on June the 23rd.

Sleep official 170623

 

 

 

 

This time, it will happen under the sky, on the grass, therefore you can translate it into this:

SLEEP_170615

See you there 😉

Piero Chianura’s 10 Tumbleweeds album premiere in Milan

I’m very grateful of having been involved into this beautiful recording and I’m so happy it is finally going to see the light or, better said, reach the ear…

This is the invitation to reach the premiere, which will be held in a full sound-awareness situation thanks to Le Ragioni di Eustachio and the Genelec sponsorship.

This premiere will be part of the PACTA Salone 2017 – Arsenale dei Teatri in Milan.
An event dedicated to music composition in theater works.
Info: biglietteria@pacta.org | tel. 0236503740

Invito_13_03_17Tumble_13_03_17

Double layered dialogue with Jens Wittwer

jens

I’ve met Jens at the beginning of spring 2016.
he was visiting the area looking for interesting wines, somebody thought we should have met.

It was one of those rare and fragile moments when my music  wine gets connected to my wines.
Jens was the right person to dive into this: sensitive and delicate enough to allow a safe exploration of a a very spontaneous and natural approach to emotions.

It was a honor to receive Jen’s questions and a real pleasure to investigate into myself to reply to them, aware my words would have fallen in good hands.
It’s like when intuitive composition is happening with the right musicians and you hear your musical message shape itself into a new form.
You discover unexpected meanings behind surprising layers.
This is his website.
This is our interview.

 

The ArtSplaces series starts here

London, May the 1st, 2016.

That day I was visiting the Serpentine Galleries.
A funny displacement feeling captured my attention thanks to some sounds coming from both sides of the exposition internal entrance.
That was the moment I started to take some field-recordings of the situation.
After visiting the Serpentine Galleries I went to the Tate Modern.
Walking through the eimg_3884-tate-modernxpositions’ rooms I was caught by another delicate emotional resonance.
Temporal suspension and physical floating were somehow represented by the experience of walking through the artworks.
The peak was reached when I entered the room where the video work by Gülsün Karamustafa “Memory of a Square” was playing.
I had never heard about this Artist before.
Something had happened.
Entering that room I understood what I would have done with the recordings I was collecting.

gulsun-maramustafa

That event lead to many nice discovers and meetings, starting with connecting with a very gentle and passionate Tate Modern curator and a lovely synchronicity with a friend working at the Kassel Documenta, who was so kind to send me Gülsün Karamustafa’s book in the picture, printed by Documenta itself.

I will keep on investigating about the fascinating, delicate and intense feelings originating from the physical spaces of art expositions with a series that I called ArtSplaces.
I like the idea of this being the first step of a walk.

Here is the sound of my walk through Tate Modern, in and out of Gülsün Karamustafa. Suspended.

This event resonated with the feelings of temporal suspension and physical floating, which is the reason why it exists and resists in time in the form of audio material.

Audio processing from hardware to software, the difficult evolution.

Since I began my musical journey I’ve always been fascinated by the depth of acoustics, sound processing and real time audio manipulation, so much that I feel like I am playing sounds much more than guitar.
I’ve been extensively using rack processors since the end of the eighties.
My setup grew to a point where I felt the need to start reducing it, this was its last “hardware-just” incarnation:

My latest hardware-just sound processing environment, circa 2004. From top Doepfer Fader control, 2 Oberheim Echoplex running in stereo/dual mono, Tc Electronics Fireworx, Eventide Orville, Sound Sculpture Switchblade GL. Not visible are the Mesa Boogie Studio preamp, foot controllers and volume pedal.

Around the end of 2005 I started to substitute looping processors ( two Echoplex Digital Pro from Oberheim) with a pc laptop loaded with Mobius, just a few months later I started investigating the potential of using an audio interface as signal router/splitter/mixer to drop  another piece of hardware, the fantastic Sound Sculpture Switchblade.
This is where the real story began: I started to use a software application as the center of my audio enviromenment, a hybrid between hardware processors: an Eventide Orville ( later a H8000fw) a TC Electronic Fireworx and a Boss VF1, another great processor, often underestimated and plugins running in my laptop.

My hardware-software sound processing environment as it was in 2011. Pc laptop running Audiomulch and Mobius as audio looper, Eventide H8000 fw, Tc Electronics Fireworx, Boss Vf-1 and Rme audio card. On the floor the Gordius midi controller and various pedals. Not visible is the Mesa Boogie Studio preamp.

I installed and checked Bidule, Usine, Max-MSP, Live and Audiomulch.
Checking these amazing software meant to enter into their respective universes, meeting completely different approaches to audio routing, user interface, general settings concepts, languages and internal organization.
Being a non digital native with zero academic training in electronics and computer programming I’ve had the feeling of being exposed to a sort of philosophical challenge.

I checked these fascinating applications keeping my focus on audio routing flexibility, midi control, computing resources, system stability and ease of use.
With these aspects in mind I decided to go for Audiomulch which, since then, has been the environment in which I’ve developed my audio processing system and, basically, the core of my playing: my actual musical instrument.

Audiomulch was a fantastically thought application: essential and deep at the same time, clean and efficient, with a very smart way of connecting modules and plugins; it has been key to allow my approach to audio processing progress and grow up to where it is now.

During all this time I’ve met many idiosyncrasies, bugs and incomprehensible solutions that made me waste a big lot of time and challenged my patience.

In 2016, after more than 10 years of use of Audiomulch I feel that there’s no more reason to live within the restrictions of 32 bits and be limited by single core processing; I feel like I have to move to a more up to date application. This is sad as I would prefer so much to keep using Audiomulch, I still think its concept delivers the best mix between interface/routing/processing/midi mapping out there, at least for the way I use it.

Since March 2016 I’m testing software to find the new host to process my audio.
Max/MSP, Usine, Audiostrom Sound Professor, Plogue Bidule, Cantabile, Ableton Live, Bitwig, Gig Performer and some others I just can’t remember.
All this to find the application to replace Audiomulch.
It is complicate, there are so many weirdness out there, strange visions and sometimes incomprehensible solutions. On the other hand you can easily find many interesting ideas but, unfortunately, not all of them in the same package.
I honestly just hope Audiomulch will show a new breeze of life, just before I do the final move.
Please Ross, let the world enjoy Audiomulch at 64 bit and with multicore support!