Sorry, no results.
Please try another keyword
composer, performer and sound designer
I built the Ealing Feeder to play complex, algorithmic patterns at speeds beyond the envelope of human performance. I wanted those patterns to be played by something tangible, rather than by a sample library on a laptop. I’m interested in the way this machine spatialises sound and has subtle irregularities in timing, as its made from moving, sprung parts. I find these attributes very appealing sonically – and I think they would be very hard to mimic with a sample library.
The Ealing Feeder is a gigging instrument and a central part of my current live set. While I perform on other instruments, I trigger it to play automatically using software I’ve created in Max. This instrument has been through many versions. Originally I made it as an outdoor exhibit as part of a commission to celebrate the re-opening of The Royal Festival Hall. I then mounted it in a lightbox for the Kinetica exhibition. Since then, I’ve stripped it down to the essential moving parts and mounts to make an instrument that will fit into a flightcase. I rebuilt it from scratch over lockdown to give it a few more years of life.
These two tracks both feature the Ealing Feeder. Part-way through Camberwell Beauty, you can hear it perform a ‘double’. This is an routine I’ve created to play an echo of any note, on the half-beat, a set interval above the original. The double helps to transform a simpler melody into a haze of metallic sound. You can also hear a variant of the double at work on the track Needle – and you can see it in action on the video.
You can also see Ealing Feeder playing automatically transcribed birdsong, for International Dawn Chorus Day, 2016.