The fourth and final performance of the Funktion pieces used the same setup as that for Killesberg Park the week before, and took place in the fantastic Intitute für Musik Wissenschaft und Musikinformatik (IMWI) Karlsruhe. The concert hall is on the left of the picture. This performance was part of the 6th International Symposium in Music Sonic Art (MuSA), in the second concert.

The third performance in my series of improvisations based around Gottfried Michael Koenig's Funktion pieces took place in the open air with a threat of rain in Stuttgart. No delay unit and no looping pedal was used, so the setup had been reduced even more than the previous performance due to weight restriction. The sound was still mono but I used the same system as the Stimmung system, with 6 channels all focused towards the centre. This created some excellent pahsing effects and I had the opportunity to wander around the space a bit to hear the effect of the initial drone in the space.

Karlheinz Stockhausen's "Stimmung" with Forum Neue Vokalmusik at an all day "18 Stunde Sommersonendwende Festival" in the beautiful Killesberg park, Stuttgart.
CHRISTIE FINN, Soprano I
NATASHA LÓPEZ, Soprano II
FRAUKE AULBERT, alto
BEAT DUDDECK, Tenor I
PHILIP LEHMANN, Tenor II
GUNNAR BRANDT-SIGURDSSON, Bass
SEAN WILLIAMS, Sound projection

The second performance of the Funktion project was in Edinburgh on 5th June 2015. I used a similar setup to the London performance but without the looper pedal. The sequencer worked better this time.

Improvisation with Matt Collings, guitars, multiband distortion, and valve amplifiers.
This was the first episode in a new collaboration, starting off strictly guitar-based and mostly using distortion and feedback. It was quite good preparation for performaing Hugh Davies' "Quintet" piece 2 days later which involves feedback to the exclusion of pretty much everything else.

We recorded the gig to 2" 16 track tape and will be mixing it in the next few weeks...

One of my main areas of research and activity is sound projection. I have been researching the early practices used, primarily by composers who worked at the WDR Studios, Cologne, and especially the performance practice of Karlheinz Stockhausen. Some of these techniques are used for historically informed sound projection concerts, but the main purpose of the research is to identify useful techniques to build my own practice on.

Matt Collings wrote a piece for violin, cello, clarinet, laptop and live visuals. This was premiered in Edinburgh in 2014, and then a new version was performed in the CCA, Glasgow on 5th March 2015. The sound projection for the second performance was scaled up to four channels, and for that I used a custom Penny & Giles 2 channel quad panning unit for live panning of a computer channel and effects.

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