Duration: ca 10'45"
Instrumentation: 5th order ambisonic piece SN3D ordering
Production Details: Wimal uses the acoustic signatures and reports of recorded sounds to impart a dynamically morphing volume of space. The goal is to represent the acoustic experience of the six (or more) bounding walls of a given room changing position and altering their substance. Textual sonic gestures activate this dynamic virtual acoustic space and are punctuated with procedurally organized percussive events. This piece is largely based on prerecorded material; a weathered piano, a reyong, slate chips and an all pass group delay synthesis technique. I am indebted to Ethan LaForge for the reyong samples, Fernando Lopez-Lezcano for inspiring the deployment of mechanical bugs on to a disemboweled and well-weathered piano and Elliot Kermit Canfield-Dafilou for the All Pass Group Delay Synthesis material.
The name comes from a loose visual translation of the waveform display of the final 1/5th of the piece. The sound of this word seemed to closely align with the sonic space of the piece. Here is an image of skething process.
Wimal was premiered at the innagural concert of the CCRMA Stage Upgrade as part of the Transitions Series. This concert compeleted a year long upgrade to the speaker array in order to utilize 64 speakers to achieve 5th order ambisonics.
The following is a binaural rendering (please use headphones - it sounds terrible in speakers) of the 3D ambisnoic work. Please contact the composer for a full 36 channel version.
The CCRMA Stage on concert night