Industrial Power. Within an immense empty place sit machines whose primary purpose is construction. The mechanical parts produce a succession of sounds, as motors wind up, grind, clank, accelerate, depress, and activate one another; each piece operating diligently its program. The whole becomes an elaborate production establishing presence within the large empty interior. This orchestrated construct defines a factory, one whose outcome is not the production of goods, but rather a powerful industrial acoustic space.

Sound Tunnel 01 explores the soundscape of a tunnel. A traveling listener often experiences such tunnel from the inside of a vehicle. While trapped within the vehicle the listener is subject to an ominous mixture of low frequencies and resonating tones. My piece reconstructs such voyage and emphasizes the deafening sounds that drown the traveler. The first part of the work plays an important role in creating the soundscape of the tunnel by defining the outside of that space. Starting in a Garage, the vehicle is entered; presenting a new interior that delimits and controls the way sounds are perceived. The vehicle thus acts as an enclosing bubble mediating the soundscape. Further subduing the soundscape is the approach at high speed towards the tunnel, which receives a sudden brush of air and fully submerges the traveler within the soundscape. The drone effect is the main element of the piece emerging as a result of the environment. Filtration recreates the atmosphere and the various individual sounds heard, from the friction of the tires creating a heavy rumble to the resonance of the air while ridings through the tunnel. Once exiting the tunnel, openness is felt even though the experience remains controlled by the interior of the vehicle. The most important aspect of this soundscape is in fact the vehicle that becomes the filter through which all sounds are mediated.

The Contract is a composition representing the sound design of an imaginary film with no visuals. The acoustics interact spatially with what is on or off screen, as if bound by the frame of an image. Yet there is nothing to see and the audience can only listen to what takes place. As a result, sound becomes the protagonist and determines the narrative of what has become cinematic acoustics.

From Above. This composition was made for the 60x60 Death Mix (www.60x60.com) Once the deep echoing call of the air raid siren goes off, all hell can break loose. The distressing tone turns its surroundings into a warning zone of imminent danger. Yet instead of an actual threat this composition develops its own looming destruction using the sounds of machinery to fill the air. The mechanical technology heard is outdated yet the effect is pervasive. The acoustics symbolize the death encompassing the siren and in doing so, attack themselves, reducing their own build-up to nothing. Sound, all at once, warns and pressures itself towards its own annihilation.

Machines 4 Production is a sound piece conducted by imaginary machinery of mechanical and electronic origin. This industrial performance guides the listener through different acoustic spaces creating a sensorial experience. My approach has always been heavily centered on visuals due to my background in photography. Once I encountered sound as a production and art practice, audio became fundamental in bringing alive my imagery. At the same time, industrialization became a topic for my multimedia work exploring a mixture of virtual and real interior spaces. Sound design became the driving force of my constructions which deliberately needed to be auditory to work spatially. This piece aims to reduce all visuals purely to sounds. The machinery controls our sense of the invisible interiors and constructs therein.

Sound of Thunder Mix. Sound Design project using a passage from A Sound of Thunder by Ray Bradbury. Mainly using existing sound libraries focusing on post-production and mixing. See list of sounds used in the mix from freesound.org on the soundcloud page.

Sound Narrative. My idea for this composition was to tell a story of spaces. Rather than narrate through dialog and events, the acoustics of interiors construct a sound narrative. The sonic experience is guided by two nameless subjects engaged in gibberish as they pass from one space to another. What takes place throughout is merely the medium through which sounds establish localization.