While I am employing a lot of synthesis-based sound design in this piece, I want it to remain very physical so that whatever moves through the octophonic space still feels like a presence. To do this, I have designed each layer of the track to reference a zone of the body so that when moving in unison, they constitute a single presence, and any disruptions created by panning will accurately reflect their disorder during certain moments of the movement. I have gone with a simple approach of bass representing the lower body, percussion representing the chest and arms, and the pad representing the head. Each element of the track also reflects the dynamics of each body part. For example, headrush, dizziness, and disassociation can be expressed through a pad widening or closing and panning around the room. Disruptive kick patterns and separate panning of the kick and noise percussion can also represent each arm separately and the tension between them and the torso. Accompanying these sounds with the field recordings of breath and tactile sounds expresses the synthetic body formed through interpreting music that is then translated externally during my performance.
- LOWER BODY/BASS
- TORSO AND ARMS/PERCUSSION
- HEAD/VOCAL PAD