The piece reflects the sounds that emerge from the feedback in a room. The form is deeply connected to the composition of the instrument. The instrument was specially drafted for this piece. Three microphones represent three different rooms. The first plays back the sound of the complete room. Two more are positioned in the shell of a shell. The winding room of the shell acts as a resonant filter on the signal in the room. The signal on the microphone is delayed and granular-synthetically processed, before it is send back into the room. The feedback loop is protected against override by a self-regulating mechanism. The resulting system, leaned on the works of Agostino di Scipio, can be operated on by manipulation on the frequency and the length of the grains, as on the rate of the playback. Furthermore, a small record of a pulse response is played back in various length into the room. On the one hand this excites the system, on the other hand the sound provides a contrast to the flat sound of the Larsen Tones. Every microphone feeds its own system. The three systems are more or less independent from each other. Influences between them only take place in the room, where they are all played back. The subtitle that could be translated to “strictly speaking a canon” is justified by a control-rate delay between the three systems. The control data, inserted with a Wacom-tablet, is delayed between two and eight seconds. This way, the three systems are distinguished from each other.
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Acosta, Arsenault, Ashton-Beaucage, Barrette, Basanta, Beaudoin, Bergeron, Bond, Bowles, Boyko…92 tracks