This short piece is built purely from piano samples, recorded both playing in traditional way and as an unconventional percussive instrument, hitting or rubbing some parts of the instrument. The piece involves the use of complex DSP processes throughout. Convolution processes, selective spectrum saturation, and resonant notch bank filtering are used primarily with the addition of numerous other processes on more select occasions throughout the composition. The proposal was to pay homage to Hugh Le Caine and his electroacoustic compositions, in particular to his Study No. 1 for Player Piano and Tape (1957). Here the idea is to transform the original samples so deeply that they could be perceived as pure synthetic sounds. So I have tried to merge the musique concrète and the world of synthesizer devices.
He is intoxicated by music. He graduated at conservatory in Piano, Harpsichord, Music for multimedia, Instrumental music teaching and Electronic music. He also studied composition for eight years, bassoon for three years, baroque organ and audio engineering. In 2010 he was Ondes Martenot student in Strasbourg and Paris. At university he was student in Media and Communication. At the moment his main interest is joining traditional composition procedures and the wide opportunities of computer-based music. Some of his instrumental works are published by Forton Music, U.K. His first electronic composition was selected for a performance during the ICMC 2012 Conference.
Other works were performed in Australia, Brazil, Italy, Taiwan and USA.