Sound design for Brecht in Porto

 Event, Play, Sound Design  Comments Off on Sound design for Brecht in Porto
Oct 072013

Sound designer Luis Aly utilized Kyma to spatialize the sound for a 13-27 September 2013 production of Brecht’s Die Geschäfte des Herrn Julius Caesar (The Business Affairs of Mr Julius Caesar) at the National Theatre of Porto in Portugal.

To create the space, Aly routed eight Kyma outputs across 26 Meyer Sound speakers grouped as: Front of House (10 speakers), Surround House (10 speakers) and Back of Stage (4 speakers) and Inside Stage (2 speakers). The ten actors and live musicians (voice, violin, custom electric guitar and electronics) were all miked and their inputs were mixed in a Midas Heritage 2000 mixing desk, sent to Kyma, and spread in space using reverberation and delay algorithms.

According to Aly, “..with only a few parameters I could move the space, stretch it, shrink it, delay it…Kyma it!!! For a sound designer it’s a dream come true. In this process I thought of what I wanted, realized it very efficiently in Kyma, and the results were amazing!”

Post apocalyptic LA hyper-opera

 Concert, Event, Play, Sound Design  Comments Off on Post apocalyptic LA hyper-opera
May 172012


Composer/sound designer Phil Curtis is using Kyma to provide electronics and sound design for a new production of composer Anne LeBaron‘s opera, Crescent City, directed by Yuval Sharon and performed from 10-27 May 2012 at The Industry in Los Angeles.  Described by LA Times critic Mark Swed as a “darkly mysterious, troubling yet weirdly exuberant and wonderfully performed new opera,” the production is a meta-collaboration that includes six visual artists who were asked to build installations for the sets (shack, cemetery, junk heap, swamp, hospital and dive bar) in the Industry’s large warehouse-like space.  Variously priced tickets determine where you, the audience member, gets to sit (or roam), and the espresso bar has been deemed outstanding.

Curtis is using Kyma to spatialize sounds in the vast performance space and to create a swamp ambience at the climax of the opera as the Voodoo queen and healer Marie Laveau sings one final invocation and is swallowed up by the sounds of the swamp.

Set in post-Katrina New Orleans, the libretto metaphorically examines the way people deal with disaster and post-apocalyptic scenarios, including nurses, Voodoo, and Loa. As Swed enthusiastically concludes: “We now have something that can genuinely be called L.A. opera.”


Lulu at the Berliner Ensemble Theater

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Apr 112011

Composer/performer Sarth Calhoun is directing rehearsals of  Lou Reed‘s music for Frank Wedekind‘s Lulu directed by Robert Wilson at the Berliner Ensemble theater in Berlin. The score features Kyma processing, Continuum/Kyma playing, and dual Continuum fingerboard improvisations accompanied by a live string section.  Lulu, which depicts a society “riven by the demands of lust and greed” (and which became the basis for both Alban Berg’s opera and Pabst’s silent film Pandora’s Box) opens 11 April 2011 in Berlin.

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