Spheres of Resonance

In Spheres of Resonance, there is nothing audible but resonance phenomena which were generated with the aid of physical models. Not only the sonic dimension was evolved by the use of physical algorithms, but also the temporal changes in sound structure. The individual resonance phenomena remained perfectly raw, they were only put together – composed. The structures were given – with the help of reverb – a specific room acoustics, some sounds were also transposed to expose the complexity of a phrase. The sound phenomena audible in this composition rest entirely upon the laws of mechanics and are regularly comparable with objects from physical reality: small music boxes, pendulums and gravity-triggered accelerandi, as well as timbral gradients resulting from changes in bow pressure on a string or sonic outcomes that are not easily accounted for, as the sound of a heavy ship engine.

Spheres of Resonance at the same time attempts to make aesthetic use of physical phenomena. Sounds often hold a detailledness that could hardly be captured with a microphone. Even the natural process of sounds losing their energetic impulse over time is counteracted by the use of extreme physical parameters. Many of the sounds used thus appear textural – like a plucked string oscillating without end.

The physical models on which Spheres of Resonance is based, as well as their basic conception, originated in the studio of ACROE in Grenoble. The Software GENESIS, developed there for almost 20 years, enabled diverse ways of working. Special thanks go to Claude Cadoz, Jérôme Villeneuve and Nicolas Castagné.