Concentric Rings in Magnetic Levitation is an hour long composition by Michael Pisaro, written for three musicians playing live and pre-recorded piano, percussion, sine waves, tape machines, various objects and found sounds, and comprised of fourteen interdependently moving layers of musical material. This multifaceted work creates a world within a world, a semblance of a naturally occurring environment within a performance space, in which both aesthetic and emotive sound qualities are elegantly balanced, glacially moving through time. We are looking to produce a recording that will similarly transform a space within which it is played, with an evolving and engaging sound environment.” Assaf Gidron

The recording featuring Teodora Stepancic, Assaf Gidron and Martin Lorenz will take place in end of August in Zurich, Switzerland. We appreciate your support for our currently ongoing campaign on indiegogo.




Compression is a sound installation for web browsers. Using the listener’s audio system (built-in or external microphone and loudspeakers) it creates sound through a process based on the specificities of the listener’s acoustic environment and technical set-up. In its overall structure this process takes the form of audio feedback. On the one hand, Compression is detached from any specific place; on the other hand, it takes the concrete listening environment and its conditions as its material basis and is therefore nevertheless site specific. The ideas of site and acoustic space take on different roles in the installation: they are incorporated into the signal network as a filter. They open up the sound-generating process and introduce an element beyond compositional control. Space is thus both the other of the process – its outside – and an internal part of the signal network. Moreover, it acts as a form of mirror, an other through which the process analyses its own output and reacts to itself as it resonates in the space.

While the installation makes use of filtering, delays, waveshaping, and ring modulation, one of the main characteristics of the overall sound synthesis process (which is displayed in a simplified form in the signal flow chart to the left) is the use of dynamic compression, which appears in a variety of different forms, on different time levels, and in conjunction with spectral analysis and filtering. The main guiding principle in the compression of dynamics is the idea of amplifying weak parts of the spectrum, that is, letting inexistent or evanescent elements become existent. The basic principle of creating (musical) form is the idea of letting appear that which is not, of giving it a maximal intensity of existence. This principle gives rise to the continuous creation of sonorous situations and timbral gestures and articulations.

Moreover, the use of delays with variable delay times and the entrance and withdrawal of delayed voices creates a malleable temporality in which spatial, timbral, and gestural aspects turn into one another. Compression is not so much conceived of as a composition – although it strives to create forms of musical articulation – or an object-like work but rather as a procedural yet material operation that displaces a concrete place.