experiments from the n-space
for processed saxophone, guitar, piano, and percussion
premiered by HYPERCUBE: Erin Rogers (saxophones), Dan Lippel (guitar), Andrea Lodge (piano), and Chris Graham (percussion) on 2 February 2024 at the 2023-24 CCT (Composition & Computer Technologies) Graduate Composers Concert, Charlottesville VA, USA
Movements:
- ichidaiji innen
- State Machine
- Earl Grey
- Les Espaces d’Abraxas
- homilies of the nuclear priesthood
- Aporia
recorded:
3 February 2024: Old Cabell Hall, UVA
also performed:
30 Mar 2025: Ignite the Arts Festival, Penticton BC, Canada
Program notes:
Sound possesses the extraordinary ability to transport us to imaginary spaces that can feel more vivid than what we may see with our eyes. experiments from the n-space delves into Euclidean geometry, describing spaces of infinite dimensions. This imaginative exercise liberates the sonic palette from the constraints of three-dimensional acoustic physics.
The ensemble HYPERCUBE (saxophone, guitar, piano, and percussion) is processed using the software engine designed for a hybrid digital/acoustic stringed instrument I’ve developed, the EV. The processing employs FFT convolution algorithms to combine the instruments’ acoustic sound and a synthesizer (controlled by pitch and amplitude). In experiments from the n-space, rather than processing the four strings of the EV, HYPERCUBE is routed into the software engine. At times the convolution algorithms juxtapose two instruments on top of one another, blending the sonic characteristics of each. In other instances, the instrument will be convolved with a synthesized version of itself, experimenting with the juxtaposition of synthetic and acoustic within a multi-dimensional auditory experience.
Each movement experiments with specific synthesis approaches, ranging from familiar instrumental relationships toward alien sonic territories. ‘ichidaiji innen’ convolves the saxophone with a synthesizer—its title, drawn from the Buddhist concept of fundamental causation, reflects how one signal fundamentally shapes and determines the character of another through convolution. ‘State Machine’ convolves the piano with the bass drum, still grounded in recognizable instrumental timbres. ‘Earl Grey’ uses feature extraction to exert extended control of synthesizers, further separating instrument from acoustical identity. ‘Les Espaces d’Abraxas’ ventures deeper into the fantastical, experimenting with spatial modulation synthesis where the ensemble’s sound is modulated as it spins above audio rate within the ambisonic dome. ‘homilies of the nuclear priesthood’ extends the guitar and piano using granular processing on reverberated signal, while ‘Aporia’ uses a Paulstretch buffer-freeze effect on the piano to augment its timbre into alien territories, stretching single moments into blurred time-spans.
score: Download the score (PDF)
Credits: Lindgren: composition, mixing/mastering, video recording + post production Alex Christie: sound recording