Vox Stridens

Everything vibrates, the absolute reality vibrates at different frequencies that our perceptual system re-codes and interprets.
I think that hearing is our most powerful sense, as some vibrations that it allows us to perceive can tap into deeper.
I think the voice is the most powerful instrument since it is inside of us own, mirror of ourselves.
I think that at a production level the vocal sound is the most direct from our thoughts.

We can gain control of our own tool.
We can understand the difference between hear and listen.
We can unify the two.

In my personal idea of sonorous space the irrevocable decision to give my electroacoustic compositions only human voice audio samples became increasingly convincing to me.
To achieve this release, I used predominantly personal voice sounds, made using overtone singing technique, sometimes vocal sounds of my wife Elizabeth (she is an opera singer, her voice is on "Cyclus"), of a little girl with brain disease (on "Vox Mentis"), of a dolphin and a whale (on "Vox Mentis"). Any other instrument was not used. No compressor or limiter tool was used in the post-editing phase.
For each song I used one to three sample at most, each of which is analyzed and then digitally processed. Each piece consists of a minimum of 250 to a maximum of 500 samples, all derived from the original takes, and stacked in multitrack. "Absalon" only consists of a single sample used several times, each time with different formants or harmonics mutations. So the few original samples of a song serve as a footprint from which branches off and diversifying all the others, a plant that is rooted, which grow leaves, flowers and fruits. One of my goals was to create a sound continuum using mixtures from clear consonant sounds and trying to conceal and disguise all, trying to focus the listening attention on timbre.