The soundtrack of Dökk acts as a narrative voice for the whole show, recounting emotions and states of mind that would otherwise be ineffective when translated into words. The process used to produce it was influenced by a non-linear approach: generative musical sequences were recorded and edited within compositions capable of creating unique audio events and random successions of notes and sounds. A central contribution to the creation of a variety of pieces was the chance to take part and record a music therapy session at Centro Armonico Terapeutico in Campogalliano, where fuse* is also based, along with children with special needs and individuals with a pre-school mental age. Using these recordings as a starting point for the sonorities of the first rooms of Dökk allowed us to experiment even more with the random succession of notes and sounds, together with directly inserting in the piece a direct connection to childhood and the joy of discovery.
During the production and mixing, various audio synthesis tools and processes were adopted: the use of semi-modular synths, sound-design and field-recording techniques and audio programming with Max MSP. For the interactive part of the performance, we also created chains of effects for the elaboration of sound and patches of audio synthesis in real time. One of these patches uses a system that includes four granular synthesis modules, where each parameter is controlled by the position on stage of the Neuron perception sensors. Every movement allows the exploration and manipulation of various audio samples taken from ambient recordings, triggering little sound fragments defined as ‘grains’ which have their specific volumes, dimensions and frequencies.
The music for Dökk was designed, composed and mixed to be played through a 4.2 surround system to envelop the audience and create a multisensory experience as immersive as possible.
