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Giving the name away – Istanbul reimagined

“I decided to recall the noble tradition of the musical cryptogram, in which the notes used in a piece hold some meaning external to the piece itself. I used two different synth lines to spell out the location name. The lead, higher synth spells out C-A-D-D-E-B-ost-A-n (Caddebostan), while the underpinning bass synth answers it with B-E-A-C-h (beach). “

Pianos and crickets in Florence

“I began by trying to build up the resonance behind the crickets with short harmonized piano scales, in an attempt to create ‘ghost echoes’, but later added more structure to the piece with piano and organ melodies and programmed drums, all the while keeping the original looped scales in the mix.”

Spectrum analysis in Delhi

“I’m very interested in language. I decided to try and develop a process of inspiration to create the final composition using only the original recording as source material. In the end, I developed a system that used the spectrum analysis of the original recording to manipulate the intonation of the recording by manipulating its speed during playback.”

Si… No? An oblique look at Venice

“Despite the apparent contradiction, «Si… No?» is a common way of asking for confirmation in Romance languages, and is often used as a kind of question tag, similar to the English «…right?». A loop of the phrase, accompanied by the cadence of the waves on the Canale, helped me hold that together.”

Big Bear Lake, California

“The structure and mood of the piece represents what Big Bear Lake is for me; a great place to get away from Los Angeles in order to return to the city relaxed and with a fresh perspective. The piece starts off in one place, goes to another more sparse and mellow place, then returns where things are the same, but slightly different and perhaps more clear.”