Christian Dimpker
N. 10 Sýnthesis
Duration: 16'
Solos:
live electronics
N. 10 Sýnthesis
Translation, reprints and more
Christian Dimpker
N. 10 Sýnthesis
Available digitally
Orchestration: Für ring- und amplitudenmodulierte Oszillatoren
Type: Noten
Sample pages
Video
Work introduction
Sýnthesis is notated electroacoustic music. It has resulted from the experiences I have made with the Studies on the notation of electroacoustic music. However, in this piece, mainly sound synthesis is employed. The idea was to explore the processes of ring and amplitude modulation by means of notation. Sound synthesis is complemented by objets trouvés, found field recordings of rain and thunder storm as well as constantly used reverberation and delay effects. The work may be divided into three sections. It starts with short durations and low density, while the panning is static and the dynamic level controlled by means of traditional symbols. The oscillator types are requested in the beginning of the section and do not change. Only quavers are utilised. However, their length is constantly affected by changing the tempo. In the beginning of the second section, new oscillator types are defined. Additionally, larger durations are employed. The character of this section is shaped by sustained glissandi. Additional diagrammatic systems are used to control the envelopes of these sounds. The modulation indices of the amplitude modulated oscillators also constantly shift. Moreover, the panning is no longer fixed. The final section results from the first one, but the tempo is a lot faster. Additionally, the oscillator types change with nearly every articulation, which re-defines the sound-wise character. As in the first sections, the panning as well as the modulation indices are static again.
What is necessary to perform this work?
The piece is supposed to be realised and subsequently played to an audience, preferably in a room with noticeable reverberation time (church or similar). Apart from the synthesis forms depicted in the score, two recordings are supposed to accompany the piece from the beginning to the end. They start with the first tone, further directions can be found in the score. Recording 1 is a gathering thunder storm. This recording is complemented by a convolution reverb (mausoleum or similar, 14 sec.). It may be produced for the piece and adapted or obtained from exisiting impulse respnses. Recording 2 is rain on leaves in a park. It should sound like a crackling vinyl and be complemented by a distortion (20 dB, free choice of transistor type). The recordings should be considered objets trouvés and hence not be produced for the recording. T'hey should not be dominant, but warmly accompany the other elements. Moreover, all synthetic elements are complemented by another convolution reverb (church, 2.5 sec.), a stereo delay (L = 87 ms, Panning 2. level to the left [see below], R = 85 ms, Panning = 2. level to the right, dry/wet ratio = 40/60 %, feedback = 95 %) [ossia: two mono delays] and a parametric filter (centre frequency = B2 [~ 123 Hz], bandwidth = 110 Hz [Q ≈ 1.1], ordinal number n = 3). One can maybe compare these effects with a constantly depressed pedal. The finished work should be recorded by means of an analogue device (tape recorder or similar) and then be re-digitalised. If such a device is unavailable, the effect may also be simulated. Generally, aliasing is an effect that may be used, but does not have to be. The sampling rate was chosen accordingly.