Sven Miracolo's Q-Room: a recording, editing, mastering, and post-production studio in
Bolzano. Giant windows illuminate the rooms and afford a spectacular view of the
Dolomites.
John Paul Jones live-looping, guitar pedal dancing, and multi-channel processing his custom-made
Andy Manson triple-neck mandolin at the
Mandolines de Lunel festival in October 2005.
Sound designer Tobias Enhus poses with his Capybara, Radio Baton, iBook, Laser harps, MOTM, various and sundry keyboards (and a radio-controlled camera on a blimp?).
Hamilton Sterling surrounded by 5.1, the infamous lyre, Capybara, computers, guitars, Continuum fingerboard, and lots of books. When he's editing a film, Sterling moves the entire setup to an editing room.
Edmund Eagan, award-winning music composer/sound designer for film and video, is pictured here in his studio at the Twelfth Root audio production facility. He's offering a free Twelfth Root T-shirt to to the person who can identify the most equipment visible in these pictures! (see also below). Send your entries to Edmund via email (see the Twelfth Root web site for contact information and creative inspiration.) The person sending him the most comprehensive listing will be the winner!
- Here's another angle with a close-up of the laptop screen:
Franz Danksagmüller's studio is in the organ loft of St. Pölten cathedral in Austria and there's a actually a very good reason for that: Danksagmüller is the official Cathedral Organist at St. Pölten's where he seamlessly blends the sounds of the pipe organ with digitally-generated sounds from Kyma in ethereal improvisations bridging centuries of tradition and future of music.
Franz controls his Kyma system with a full-sized Continuum fingerboard, providing an interesting visual contrast between this 21st century controller, the medieval wood inlays (foreground) and the Baroque ornamentation (background).
Photos by Lippold Haken.
Composer
Bruno Liberda explores "metaphonics" in a performance of
JETZT at
Galerie ton ART in Vienna. In
JETZT the
process of composing is the focus of interest and the score is just a trace left behind by that process (like the skin of a snake after the process of molting). In this performance, the audience listens and watches screen projections of Liberda in the process of composing a new piece of music. What is left at the end is "documentation": a score, an audio recording, some photographs. In addition to this performance in Vienna, Liberda has documented proof of performances of
JETZT in Pompei, Kadath, Cygnus-X1, Moesko Island.
Matteo Milani using Kyma and a Wacom tablet to improvise the sound track for a
silent film at the Aosta International Cinema Road Festival.
Milani's
Graphicalsound studio: Kyma X, Capybara 320 (basic configuration),
Wacom Intuos3 4x5 USB Tablet, Asus Laptop, Digidesign Pro Tools LE (Mbox
hardware), Emagic MT4 midi interface, Roland PC-200 MKII Midi Keyboard Controller.
Alien Head Studio where Nik Green and Penny Little take on solo projects, singer songwriters, commercials, as well as full-on film scores and sound design.
