To hear on Sunday 20 and 27 April 2014, 2pm - 9pm:
"killAmor"
Sound construct for 11 loudspeakers distributed in 2 loudspeaker installations, accessible in buckled, deformed zones or listening spaces.
Recording technique of killAmor for the presentation at 'ohrenhoch':
The recording of killAmor was made in the ohrenhoch basement in October 2013. killAmor recorded several sessions on two days in the three basement spaces. 2 different stereo recording techniques were used and also several close microphones were placed at the speakers of guitar amplifiers, and the line signals were directly recorded. Two acoustic levels result thereby. A spatial recording reflecting strongly the sound of the ohrenhoch spaces, quasi measuring/lighting acoustically the sound of the basement at ohrenhoch, and a direct level making hearable directly and "dry" the sounds produced by killAmor. The two stereo setups have different properties: The OSS stereo recording technique is regarded as being particularly suitable for chamber music recordings. It results in a nearly graspable realistic "natural" spatial sound. The XY or Blumlein stereophony shows the sound in a spatially direct and markedly more present way, which at times creates the impression of enlarging the music as through a magnifying glass. The two stereo microphones were placed in changing positions during the recordings so that different acoustic images result.
In the editing we overlaid the two recordings in some passages, in other ones we left just one of the stereo tracks.
killAmor on the two loudspeaker installations at ohrenhoch
The two sound levels - spatial or direct recording - were finally allotted to the two loudspeaker installations in the ohrenhoch shopwindow space and cellar ("Bassbox").
The piece you hear on Sunday is a four channel feed. It projects to the original spaces what has been played within the spaces, or it transports the spatial impression of the recording into another room or another place at ohrenhoch. The visitor experiences frequent and sometimes surprising changes of perspective, projections of the music of killAmor, in and from the ohrenhoch spaces.
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