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).

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Renault Trezor

In 2016 I collaborated with IRCAM and Renault on the signature of the Renault Trezor engine sound. You can listen to the engine sound it in this teaser (mixed with music) :

Or, with more details, in the following video, where I used in-car-camera footage to have a visual ground to help me develop the race-car components of the sound :

The sound of the Trezor is based on the Zoé sound signature, which we created in 2010/2011, but features a different personality, somewhat unpredictable and dangerous, with traces of combustion race engines, meant to evoke the voice of the great sport cars of the 60s and 70s.

The Trezor, a beautiful electric concept car, won the “2016 Concept Car Design of the Year” prize.
https://www.motor1.com/news/139878/renault-trezor-concept-design-award/

Other moments of my collaboration designing sounds with Renault can be found here :

Sound for Renault INITIALE
http://www.carbodydesign.com/2013/09/renault-initiale-paris-concept/

Sound for Renault FRENDZY
http://www.joyenjoys.com/luxury-concept-of-frendzy-renault-car/

Interview Le Monde
http://www.lemonde.fr/culture/article/2010/11/25/andrea-cera-le-metteur-en-sons_1444893_3246.html

Papers about Renault ZOE
http://www.evader-project.tu-darmstadt.de/eVader/Workshop/eVADER_WS1_21_11_2013_7_Misdariis.pdf
https://www.cairn.info/resume.php?ID_ARTICLE=SDD_005_0115

Collaboration with Antonio Camurri’s team in Genova, 2016/2017.

In 2016 and 2017  I collaborated with Antonio Camurri’s team (University of Genova / Dipartimento di Informatica, Bioingegneria, Robotica e Ingegneria dei Sistemi), imagining strategies for the sonification of expressive qualities of dance.

This is an example of the sonification system we designed (EyesWeb and MaxMSP) at work in “Esodi”, a choreography by Virgilio Sieni (Genova, Palazzo Reale, 27.03.2017). “Esodi” is a performance for a large number of non-professional dancers (citizens of Genova). We used the sonifications to create a form of cohesion among performers located in different rooms of the Palazzo.

The sonification system is based on these features : EyesWeb part 1 : analysis of Fluidity, Lightness, Fragility, and other features. MaxMSP : sonification of each quality (2 granular engines, 2 microloops engines, 1 [agents + emerging behavior] engine). EyesWeb part 2 : mixing of the sonification channels, based on Salience.

 

This is another example of the full sonification process. The dancer is Virgilio Sieni.

 

Another example : in this case, we were working on the analysis and sonification of fragility.

After the Gate Machines

In the frame of the Skat-VG project, I was invited with four other fellows sound designers to create sketches for the sonification of an artwork from the collection of the Chateau La Coste (in South France), using Skat-VG technology (synthesis controlled by voice).
This is my choice (“AIX”, sculpture by Richard Serra) and the sketch I concocted. All sounds are SDT (Sound Design Toolkit) and Mubu/CataRT, except for a sample of breeze through leaves that I layered in the mix (along with the synthetic wind from the SDT) to confound the listener about what is real and what not.
I imagined that we are in a not too distant future where the Gate Machines sprayed the world with swarms of metallic audio nano-agents, changing forever the natural soundscape. The passage in the sky of the Gate Machines woke up their ancestors, and they are calling them.
http://skatvg.iuav.it/
http://chateau-la-coste.com/
http://soundobject.org/SDT/
http://imtr.ircam.fr/imtr/Corpus_Based_Synthesis