Jennifer Rosa – L’Ora – Teatro Comunale di Vicenza – 2019.06.18

This is a 12 minutes kind-of-ambient track I made for the Italian company Jennifer Rosa, and their work L’ORA (a performance structured around a real-time random-based algorithm). The venue is the Teatro Comunale di Vicenza.

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https://www.tcvi.it/

selected works 1998-2018 Vol. 2 / 3

4covers

Vol.2 and Vol.3 complete the release of tracks I created for choreographies, theatrical works, and performances – 1998 to 2018.
Free download / streaming : https://andreacera.bandcamp.com/
Volume 2 features technoid/IDM tracks.
Volume 3 features ill-ambient, dark electro and noise tracks.
Mastering was carried out by Italian composer/instrumentalist/improviser Giuseppe Ielasi.

selected works 1998-2018 Vol.4

copertina_RED

https://andreacera.bandcamp.com/…/selected-works-1998-2018-…

For people who enjoy stress. This is number 4 of four volumes I’m releasing this year through Bandcamp (a selection of music I made for choreographies, theatrical works, performances).
Vol.4 features hybrids, fake plunderphonics, skewed songs.

Mastering was carried out by Italian composer/instrumentalist/improviser Giuseppe Ielasi.

The download includes a booklet with photos and texts.

Renault Symbioz Sound Design – Better Sound 2018 Audio Branding Academy

The sound design project for Renault Symbioz (in collaboration with IRCAM and Renault Innovation Lab) has received a nomination from the Audio Branding Academy, an international group of professionals, for “Better Sound 2018” – International Sound Awards.

A new electric autonomous demo car, the Renault Symbioz represents Renault’s vision of the automobile for 2030. The car was unveiled at the Frankfort Motor Show in 2017 and journalists had the chance to test it. To curate the sonic aspects of this project, in 2016 an industrial collaboration was initiated between Renault’s Design/Innovation Lab departments, and IRCAM’s Sound Perception and Design Team, represented by engineer-researcher Nicolas Misdariis, and sound designer Andrea Cera. The Renault Symbioz sound design project offered two challenges: the design of an external sound to warn pedestrians of the vehicle’s presence, and the design of a collection of sounds for the car’s interior.

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Audio Branding Academy page on Renault Symbioz :
https://audio-branding-academy.org/renault-symbioz-sound-design/

Interview with Andrea Cera and Nicolas Misdariis (IRCAM) :
https://www.ircam.fr/article/detail/rencontre-avec-nicolas-misdariis-et-andrea-cera/

Low-intrusiveness sound design for L&L

This is the stand designed by Traverso-Vighy architects for L&L (Italian brand of lighting systems), in occasion of the Light + Building 2018 trade fair.

For this project I created a low-intrusiveness soundscape, experimenting on convergences with the features of the lights design. Our goal was to create a peaceful space, an oasis of tranquillity in the usually chaotic ambience of trade fairs : the semi-closed design of the space gives a feeling of privacy, while the semi-transparent nature of some of its elements prevents a sense of claustrophobic separation. We wanted to avoid the use of background music, which adds up to the general sonic confusion of a trade fair soundscape and, in the long run, fatigues the attention processes of the people working in the stand. We decided to use only concrete sounds (field recordings + procedural audio made with MaxMSP) and to articulate them following a structure of breathing cycles.

(photos by Giovanni Traverso)

There are two cycles. The fast one repeats at 8,5 seconds intervals, the slow one at 1 minute intervals. The faster cycle functions almost like a LFO modulation of the overall amplitude. The slower cycle controls the long cross-fading between audio materials. The lights works in the same way for each RGB channel : the fast cycle controls the relative fades, whose actual boundaries are set by the slow circle. A MaxMSP patch sends a sync signal to the lights controllers, every 3 minutes. The loudspeakers are hidden in the architecture, and it is almost impossible to locate them acoustically; the sounds are diffused at very low amplitudes, which makes the installation very fragile acoustically (a change in number of visitors can make the sounds almost disappear).