Program notes:

The live sound of one saxophone is transformed into an abundance of sound streams using precisely controlled electronic delays and pitch shifters. A complex system is setup, in which the performer plays "in between the (bar)lines" of the music, using even small deviations in the timing and timbre to synthesize shifting patterns and textures. The sound streams move through a virtual landscape and are diffused using surround sound. Eventually, the gestural patterns are actualized and spatialized as the sound streams move and emerge from in between the lines.

 

About the SupraSpatializer Instrument for In Between The Lines:

 

Although in experimental music, it is useful to be able to animate the motions of a large number of sound sources around a concert venue, a single human can control only a limited number of independent virtual sound sources in real time. The SupraSpatializer aims to address this challenge by using virtual physical models to amplify a human’s abilities. A series of virtual masses can be instantiated inside a computerized, virtual representation of a concert venue, whereby the position of each virtual mass specifies the location of a sound source in the actual concert venue. This idea was previously suggested by Hans Tutschku, who used the idea in Firmament–schlaflos.

 

The SupraSpatializer extends this concept by having the virtual masses interact with a virtual landscape. In this landscape, the masses will tend away from brighter parts of an image (e.g. “higher” virtual locations) toward darker parts of the image (e.g. “lower” virtual locations). By changing out the grayscale image, with virtual landscape can be changed to obtain very different dynamic behaviors of the masses.

 

The masses are connected together by virtual springs, forming something like a virtual jump rope. The performer uses force-feedback joysticks to pull on the endpoints of the rope, and the rope pulls back on the performer by way of the same force-feedback joysticks. The word supra (Latin for “above”) is incorporated into the name of the instrument in honor of Claude Cadoz’s paper on the supra-instrumental gesture.

 

Here is the first movement from In Between The Lines:

 

  The SupraSpatializer interface with two force-feedback joysticks: