PREPARATION FOR

THE FINAL PRESENTATION



Luca Faraldi

At the beginning I wanted to
become a classical guitarist.
But I became soon too undisciplined to play
music written by others.
So I decided then that I would become a composer.
But I became soon too impatient to search for
somebody else that plays my music.
So I moved to Jazz. I started using pedals and
soon my hands became too busy tweaking pots
to have time to practice my solos.
So I decided that I would make
electronic music. That sounded like a
great idea, but I had no sounds to play, so I
I had gained
started to record my instruments.
access to a lot of material, but I was
mainly composing by layering sound les
and after some time I started to have the
feeling of having lost something very
important working like that. Recordings of
improvisations are like little insects
trapped inside crystals of amber, by
looking at them, one can only guess how
their body worked, how they used to
move, in which environment they lived.
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 I didn’t like that at all at the time (now I
would rather see that as a chance), that’s
why I was trying to infuse back some
life into my sounds by using
automations EXTENSIVELY. It was too di cult
to compose like this because my DAW projects
had become huge because of how many tracks
and plugins I had to use to get closer to what I
was imagining. The music I was
composing wasn’t pure enough, I
wanted to have more control on the
processing I was doing, I wanted to be
satis ed with just a few sounds playing at the
same time, not 200. So I decided to learn how
to code my own sound e ects. As I learned a
bit of that and I had the freedom to create things
that behaved as I wanted I noticed that I didn’t
really know what types of sound processes I
wanted to recreate. It never felt natural to me the
distinction between the categories of sound
sources and sound e ects/processing, The
distinction between the two does not exist while playing
the mandolin. I also had noticed that certain types of
processing (reverb, delays) a ected consistently the
way in which I was improvising, which changed the
way in which I was thinking (and coding) my sound
e ects, which a ected consistently the way in which I was
improvising, which changed the way in which I was thinking (and coding)
my sound e ects, which a ected consistently the way in which I was improvising,
which changed the way in which I was thinking (and coding) my sound e ects, which a ected consistently the way
in which I was improvising, which changed the way in which I was thinking (and coding) my sound e ects, which a ected consistently the way in which I was improvising, which changed the way in which I was thinking (and coding) my sound e ects,

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Amateratsu (2018)- Kyka Gasparian
Map- 2019

Stella- 2021