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etienne
Etienne Deleflie

One day, I will record a tennis match with the mic positioned at the centre of the net. Actually, any sport would probably be good. I'd like to record the sound of someone walking into a building on a very rainy day.
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1931
1777
Composition exploring timbre textures by panning groups of sound sources very quickly. Implemented in 3rd order ambisonics, with 400 point sources.
Fluro-thumb
1982
1552
A recording of fluorescent lights being flicked on and off, processed by 3600 granular voices spread evenly over a square kilometre. Granulation of multiple point sources is used to help synthesise the impression of apparent sound source size.
Train-thumb
1850
1558
The first movement in a series of works exploring the effect of distance on a sound's spectral character. The drum sample is taken from a recording of drummer Tim O`Driscoll
Torch-thumb
1435
1217
Here, a video of a torch waved around is spatially sonified. Occasional lens flares cause loud sound events. The scaled translation of the image is such that the lens flare is aurally modelled as being 300m wide. Apparent sound source extent is synthesised by decorrelating 3600 concurrent granular voices. This means that the 300m wide lens flare should be perceived as a large sounding object. The video can be seen in full (but with only a stereo downmix) on Vimeo: http://vimeo.com/9202956
Flare-thumb
1371
984
Test image for the spatial sonification of images. The lens flare represents a 300m wide sounding object. Sound produced from the farthest parts of the shape (B) will arrive at the centrally located listener (x) considerably later than sound produced from the closer parts A). When heard, this effect sounds like a kind of reverberation. However, unlike room-modelled reverberation, where both first reflections and diffuse reflections typically arrive from all sorts of directions, this reverberation is somewhat unidirectional. There are no real reflections, all sounds arrive directly from the object.
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