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Works for Concert & Radio | Artist Residencies | Sound Design

2018 Oblique Territories - artist residency (Sauerbier House, SA)
2017 Goyder's Line - performance work
2016 Discreet Concert for Onkaparinga - performance
2016 Life Is Short and Long - with Emma Beech & Vitalstatistix
2016 This Storm - theatre sound design (The UnRest Cure)
2016 Unley Unpacked (with SA Youth Arts) - sound design
2015 Sprout - theatre sound design
2015 Climate Century 2015 - artist residency (Port Adelaide, SA)
2015 Adhocracy 2015: Crawl Me Blood - artist residency/development
2015 Run Zombie Run (with Expressway Youth Arts) - sound design
2014 The People's Weather Report - 2-channel audio work + text
2014 Notoriously Yours - theatre sound design (
2013 The Lake - theatre sound design (
2013 Fairfax Festival 2013 - theatre sound design
2013 Adhocracy 2013: Reclamation - artist residency + 2 channel audio work
2013 Muff - theatre sound design (
2011 WIRED Ears (WIRED Lab) - artist residency
2010 Ecocline - performance work
2007 Wogrssalk - performance work
2007 Sketches For Akio Suzuki - performance work
2006 Chicago, Chicago - theatre sound design
2006 The Sky Is Falling - performance work
2006 Translations - performance work
2005 Assonance #2 - performance work
2005 Assonance #1 - performance work
2004 Scrapes 1 - performance work
2003 New Persia - 4-channel audio work
2002 Vorticisms - 2-channel audio work

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:

I'm sitting on the sand beneath Normanville jetty, looking out to the ocean. The jetty's century-old character comes into relief: supporting posts weathered by the elements, rusted bolts, horizontal beams which have been periodically carved or illustrated with pocket knives and pens - inscribing initials, romantic allusions and indecipherable text. During the peak of summer, tar will occasionally ooze from the beams and emit a pungent, though strangely satisfying smell combined with the salty air and heat.

I'm facing south looking down the western coastline of the the Fleurieu Peninsula. The visual quality of the peninsula's coastline is striking - Normanville beach with its ancient sand dunes stretching elegantly into the distance, eventually joining a succession of sheer cliffs and bluffs; concealing secluded beaches, reefs and caves.

I begin to wonder what the future will hold for parts of the coastline.

Normanville Beach will be transformed, the jetty eventually submerged; and what of the ancient sand dunes that overlook the beach and extend down the coastline?

What of the beach houses and shacks that are nestled behind just a thin strip of native vegetation looking out onto Lady Bay? The shallow dunes will have given way to rising tides, the parcels of vegetation and large clearings transformed into a network of lagoons. The beach houses and shacks rendered no longer habitable - their prefabricated ruins having gradually washed away into the ocean.

Terrestrial caves that were explored as a child are most likely transformed into underwater caves.

What of the marina at Wirrina Cove holiday resort? Submerged breakwaters, pontoons torn from their moorings and capsized vessels clustered together?

The secluded beach coves of Second Valley once covered with large pebbles and rock outcrops. Now all immersed in water; the ocean risen and making its way to meet the cliff tops that overlook this part of the coastline.

Then, nearing toward the headland of the peninsula is Rapid Bay. The once long stretch of beach is now submerged marked only by two impressive landmarks that still remain above water; at the southern end: a quarry that was dug into the side of a steep hill in the 1940's. Its airborne dust of floating limestone particles that settle into the seabed, turning the water an attractive turquoise blue. Then, at the northern end of the bay: just above the water's surface a slight opening of what used to be an open air cave, now colonised by ocean life.

Then, above Rapid Bay is Starfish Hill and an installation of wind turbines; one of many wind farms that have been installed across South Australia over the past fifteen years. The wind turbines on Starfish Hill will most likely survive a significant rise in sea levels, but who knows what other environmental cataclysms await us in the near future? In a way their presence is a comfort, they are a symbol that reminds me that we can make difference and turn things around.

TLR, November 2014.

Notoriously Yours (2014)

Sound design (w/ Craig Behenna, Matt Crook and Brad Williams) for's production of Van Badham's Notoriously Yours.

More info:

The Lake (2013)

Sound design for's production of Ben Brooker's The Lake.

More info:

Reclamation (2013)

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.

Artist proposal:

Reclamation will seek out the sonic presence of the natural world within the heavily industrialised environment of Port Adelaide. Exploring the natural world within the industrial world can be a frustrating, and in some case futile exercise, therefore I propose to go beneath the water of the Port inlet with hydrophones (underwater microphones) in search of the natural world - into an acoustic realm that we cannot experience without the intervention of technology.

The process of essentially reclaiming elements of the natural world through the intervention of technology is a key area of my practice at present, which is chiefly concerned with examining the tension between the natural and manmade world and its associated environmental implications. The Port district presents itself as an ideal case study to explore these issues as well as further develop my investigations in the areas of sound recording and microphone technology.

Over the course of the weekend I will be seeking locations for recording (ideally during the morning), followed by an afternoon session at Vitalstatistix where the recordings would be available for audience members/visitors to listen and share their impressions, which may inform the development of the live performance on the final day.

Muff (2013)

Sound design for's production of Van Badham's Muff.

More info:

Ecocline (2010)
For Ableton Live and Korg Monotron.

Ecocline is a term used in geographic and ecological fields to describe points of transition between contrasting environments - such as the transition from a forest to a beach.

| Live studio rehearsal, September 2010.


Wogrssalk (2007)
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).


Sketches For Akio Suzuki (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.


The Sky Is Falling (2006)
For spoken text (Tasma Buchan) and real-time processing in Max/MSP.

(Th)(e) (sk)(y)(fal)(ling)
(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.


Translations (2006)
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.


Assonance #2 (2005)
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.


Assonance #1 (2005)Assonance #1
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


Scrapes 1 (2004)
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


New Persia (2003)
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


Vorticisms (2002)
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



e-mail: tristanlouthrobins[at]gmail[dot]com