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Works for Concert & Radio | Artist Residencies | Sound Design
2018 Oblique Territories - artist residency (Sauerbier House, SA)
Discreet Concert for Onkaparinga (2016)Three-hour 'discreet' concert for the opening of Nic Brown's And then the cloudburst exhibition at Sauerbier House, Port Noarlunga - 10th December 2016
More info: link
The People's Weather Report (2014)A short radio work composed for Arts House's Going Nowhere event in November 2014. Subsequently re-broadcast on Radio National's Soundproof
More info:Arts House - Going Nowhere (November 2014)
Radio National - Soundproof
Full spoken text:
Notoriously Yours (2014)Sound design (w/ Craig Behenna, Matt Crook and Brad Williams) for five.point.one's production of Van Badham's Notoriously Yours.
The Lake (2013)Sound design for five.point.one's production of Ben Brooker's The Lake.
Composition developed during weekend residency project as part of Vitalstatistix's Adhocracy 2013. Comprised of presentation of finalised composition, workshop presentation and listening station featuring work-in-progres.
Sound design for five.point.one's production of Van Badham's Muff.
For glass, short digital delay and processing in Plogue Bidule.
Exploring the sonic possiblities of a glass surface.
Performing Wogrssalk live at Earpoke (November 2007).
For rocks, stones, pebbles and digital delay.
Sebastian Tomczak and TLR performing the work at Tyndall Assembly, July 2007. Image: Luke Altmann
Sonic sketches in honour of Suzuki's many explorations along Tango Beach, Japan.
The audio clip below is from the only public performance to date of this work, with TLR and Sebastian Tomczak performing at a Tyndall Assembly concert in 2007.
| Audio: Live performance at Tyndall Assembly, 25th June 2007
|| Tristan Louth-Robins: two rocks, digital delay.
|| Sebastian Tomczak: two rocks, digital delay.
For spoken text (Tasma Buchan) and real-time processing in Max/MSP.
(in)(to) (a) (tr)(ee)
(Fal)(ling) (in)(to) (th)(e) (sk)(y)
| Video You Tube link
|| Performing live at the Jade Monkey, August 2007.
For sine waves and acoustic guitar.
Translations set-up prior to performance at Tyndall Assembly, March 2006. Image: TLR
Translations is composed in the spirit of the work of Alvin Lucier (specifically Sounds From The Bridge (1978), insofar that it examines the resonant properties of a conventional instrument through the use of pure waves. There a three key components to the work - 1) the continual playback of sequenced pure waves from a laptop, 2) the broadcast of these pure waves from a loudspeaker and the resultant resonance of the acoustic guitars strings which sympathetically resonate in accordance to the frequency of the waves, and 3) the incidental feedback generated by the close position of the loudspeaker and the acoustic guitar. Note: the acoustic guitar in this instance is amplified by a transducer pickup positioned beneath the bridge.
| No audio currently available.
For solo instrument, pre-recorded musical cells, CD-Rs and CD players.
Assonance #2 set-up in Electronic Music Unit with Sebastian Tomczak on 'cello, September 2005. Image: TLR
Assonance #2 is a phase relation amalgam of Brian Eno's Music For Airports (1978) and Terry Riley's In C (1964). Pre-recorded musical cells are recorded to CD-Rs as individual tracks and played back on as many as four CD players set to 'shuffle' settings, creating a random sequence of musical cells. The solo performer operates on a similar principle - choosing a from thirteen musical cells whilst the pre-recorded musical cells are playing back.
| No audio currently available.
For pre-recorded musical cells, CD-Rs and CD players.
Diagram of technical process.
Assonance #1 is a phase relation work influenced by the early work of Steve Reich, Brian Eno's Music For Airports (1978) and the Flaming Lips Zaireeka (1997). The work involves the recording a multiple instrumental cells, each of which are recorded to CD-Rs. These CD-Rs are then played back simultaneously on CD players set to 'shuffle' settings, creating random permutations of melodic and rhythmic elements. Emphasis is placed on the different delay timings of the CD players, which creates the phase relation effect.
| Audio: Studio recording, July 2005
For feedback system of microphones, loudspeakers and graphic equaliser
Diagram of technical process and photo of Scrapes 1, November 2004.
Scrapes 1 is a work that examines the process of audible feedback. The technical set-up comprises of a 'figure 8' system whereby a set of two microphones and loudspeakers feedback into each other. Delay processors and a graphic equaliser are employed to delay and colour the feedback signal, whereby the performer can adjust the settings of these devices to implement changes in timbre and rhythm.
| Audio: Studio recording, August 2004
For four-channel playback
New Persia is a musique concrete work for four-channel playback, originally composed for the final assessment of 2nd year Music Studies (Music Technology) at the Elder Conservatorium, University of Adelaide. It can be best described as an 'ambitious' work, utilising a variety of instruments, recorded sounds and studio techniques. The inspiration for the work is drawn from the 2003 invasion and occupation of Iraq.
| Audio: Studio recording (stereo version), October 2003
For two-channel playback
Vorticisms is an early musique concrete work composed at the Elder Conservatorium in late 2002. It utilises a variety of instruments and recorded sounds, exploring aspects of pitch, timbre and intensity over a relatively short duration and simple structure.
| Audio: Studio recording, October 2002