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.
Other moments of my collaboration designing sounds with Renault can be found here :
Sound for Renault INITIALE
Sound for Renault FRENDZY
Interview Le Monde
Papers about Renault ZOE
A new collaboration with ricci/forte, presented in July 2017 at the Festival dei Due Mondi in Spoleto. The music used in this trailer is inspired by the soundtracks of Dario Argento’s movies, and slowly degraded using Open Music. Listen to the whole track here :
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.
Back to my roots : contemporary dance and the pleasure of exploring whatever musical form the project may hint at (in this case, improvisations with an old EKO Ekomaster 400 found in a garage sale, coupled with a few drum samples – to be played very loud).
This is the trailer of the new work by ricci/forte, “PPP – ultimo inventario prima di liquidazione (hommage à Pier Paolo Pasolini)” – for them I prepared soundscapes and a few songs, like the one used in this video. These guys are CRAZY and it’s really fun working with them.
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.
recording session with vintage switches, bell alarms, morse devices, bakelite objects