Process

Each sound work begins with a gesture of listening.
Before any composition, there is a moment of presence in the place — a time of immersion, of attention to the resonances of the living, to the subtle textures that the ear alone cannot always perceive.

Recording: the material of the place

Sounds are captured using contact microphones placed on surfaces — trunks, stones, glass, metal — and ultrasonic sensors that reveal high frequencies, often beyond human hearing.
In aquatic environments, hydrophones allow the recording of flows and deep resonances.
The raw recordings are then processed: ultrasonic sources are stretched and slowed down to unveil their inner structures and hidden harmonics.

Spectral imprint: from reality to form

Each recording undergoes a spectral analysis.
The resulting imprint — frequency distribution, density, dynamics — becomes a living map of the place.
It serves as a matrix, a genetic material for composition: the pulse of the real becomes the sap of musical writing.

Composition: Opus Modus

From this spectral imprint, an algorithmic composition is developed within the Opus Modus environment.
The spectral data guide the pitches, durations, and harmonic densities.
The musical structure thus emerges as a translation of the place — a quartet of strings, winds, or an electroacoustic formation, where each part dialogues with the rhythms of the recorded matter.

Expanded listening

This process directly connects the act of listening, acoustic measurement, and musical writing.
The works become spaces to inhabit, where sound extends the vibrations of the world into a recomposed form.
Between sensitive document and composition, they open a territory of augmented listening.

Sound as living matter — to capture, analyse, compose, and inhabit.