nada – live performances

nada has been a regular live stream for a while now. you can catch this on my bandcamp – follow this page so you get reminders.

gradually, i am starting to perform this set live again, in certain places of significance, ideally with great acoustics, and at times to groups of meditators, which is the main purpose of the series.

recently, i was really pleased to get an opportunity to play in sheffield cathedral, which is an amazing place, for one of the lunchtime recitals. the resonance of the place is beautiful yet subtle. the audience was spread across the very wide nave and some walked around to see the artwork on display. i noticed how attentive everyone was to the very detailed textures of my field recordings, and the ambience created by their natural resonance. there is a section where the energy in the space was really powerful: the cathedral responded brilliantly to the heart resonance and the sense of compassion and stillness were palpable.

such a pleasure to play in the cathedral. check out the recording:

 

 

previously, i performed a set in firth hall for the sound junction series of electroacoustic concerts. the sound was spatialised across 8 speakers, arranged as half circle surrounding the audience. diffusing the sound while improvising was a very exciting challenge. it was such a pleasure to perform in this really impressive space – an edwardian oak panelled hall that housed so many great performances. plus, it was really cool to hear my work on such high quality equipment. thanks to the sound junction guys for this opportunity.

here is a stereo mix of the set:

 

 

for more information on nada listening meditations, check out this presentation page.

please join my mailing list for info on future events and new releases.

 

 

thought of the day – nada

“

One of the great virtues of meditating on the inner sound is that it easily supports both aspects of samadhi (meditative concentration): samatha (“shamatha” in Sanskrit, meaning calmness or tranquillity) and vipassana (insight). Samadhi can be described as the fixing of the mind on a single object for a period of time. And this single­ness of focus, or one-pointedness, can function in two distinct ways. The first, which is the basis of samatha, can be thought of as “the point that excludes.” It’s like using the spot-focus beam of an adjustable flashlight to lock onto a single object and block out everything else.

The second way, the basis of vipassana, can be described as “the point that includes.” The one-pointedness expands into an awareness that makes the whole experience of the pres­ent moment the object of meditation. Using the broad-focus beam of the same adjustable flash­light, all the various aspects of the present—not just a single, brightly lit spot—are encompassed in the light of awareness.

“

The Sound of Silence by Ajahn Amaro

https://www.lionsroar.com/the-sound-of-silence/

for a year now, i have been improvising electroacoustic soundscapes as a basis for deep listening. this series of live streams is called nada. and i have been thinking in those terms, that most approaches to buddhist meditation are contained in this pratice. coming across this excellent article gives nice feedback in that i was right in my thinking. those sound meditations have been a really rewarding output that combine both my spiritual pratice and my creative and technical work. i hope this benefits many people.

if you would like to listen to the series, please check out my bandcamp page. you can follow to receive updates of the coming live streams.

you can also sign up to my newsletter.

nada – listening meditation

 

nada

the sound of silence

 

nada is an invitation to meditate with the sounds of the five elements, to heal body and mind with the songs from streams and rivers, from wind and trees, with harmonies that we intuitively relate to. this meditation practice highlights the relation between elements and emotions and our close connection to nature.

 

sculpted from the sounds of natural elements, these listening meditations are electroacoustic performances that draw from many years of practice as a composer and improviser, from qi gong, buddhist practice and meditation.

 

with the practice of mindfulness of listening, one is invited to reflect on perceptions, thoughts and reactions, on our connection to the elements internally and externally, as we delve deep into the observation of subtle sensations. all key aspects of buddhist meditation are integrated into this one practice, so there is no multiplicity of approaches.

the narratives that unfold, following the natural movements of the recordings, and the changes in mood during the performance keep the listener engaged while the live processing that playfully reshape known sounds may incite close attention conducive to meditative states of concentration.

 

another important aspect of the work is the use of resonant frequencies found in natural sounds, especially selecting and sculpting tonalities used in sound and vibrational therapy. it is like a gong bath, but using healing frequencies from nature: the harmonies are specific to a time and place, and the element recorded.

 

each performance is unique as i intuitively select the aesthetic, atmosphere and tonalities i use moment to moment. improvisation as approach and method allows me to adapt what sounds i use, what resonance to focus on, so the music flows and connects with the audience.

 

i offer these performances as livestreams on the bandcamp platform in a series called nada, so that people can meditate in the comfort of their home.

i am also available to travel to buddhist, meditation, yoga centres, etc. who are willing to accommodate such events for groups of experienced meditators.

 

 

technical details:

i use
1 performance laptop + usb audio interface
optional x2 microphones and mike stands [when using a collection of meditation bowls and bells, etc.]
1 streaming laptop + usb mixer
h5 zoom recorder
multiplug extension cable, misc connectivity

required from venue
power or extension cable to the performance area
low table and meditation seat
amplification – high quality stereo speakers, able to reproduce a high range of frequencies and wide stereo image [i can bring suitable speakers if needed, tbc]. possible multichannel diffusion via ADAT
additional – table or support for streaming laptop
stable wi-fi internet access for live stream

 

 

contact:

nexttimerv_at_hotmail_dot_com

 

 

 

reviews:

“I found this work intriguing and at times beguiling […] and I realised that by having more to pay attention to, my meditation sessions could be sustained for a longer time by Hervé’s listening meditations”

Benedict Jackson – dimensions-in-sound-and-space

*

It’s been a magical experience, following you in this sound journey, deeply
listening with open heart and ears.
Lukas M – audience member

*
Hervé’s live improvisations transport you onto a journey which is at once sensorially relaxing and awakening. Through his unique use of texture, rhythm and space he is able to keep the audience on their toes whilst grounding them into an uninterrupted state of flow from start to finish. A powerful sonic experience!
Lorenzo P – audience member

*

Thoroughly enjoyed falling back into the really clear three dimensional soundscape.
Dave P – audience member

*

These are absolutely magic journeys for drifting off… Thanks for the calming moments.
Phil I – audience member

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*

 

 

audio examples

 

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Résonance #10 [nt028]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

One year on, a new listening meditation performed at the Sheffield Buddhist Centre to experienced meditators. The practice based on nada, the sound of silence, invites the audience to use the continuously evolving soundscape as support for meditation. Bringing the awareness to details and texture or to the entire balance of sounds and its evolving narrative bears similarities with mindfulness of breathing. One aims to become immersed in the sonic world presented, in all its details, and also observe the interaction between parts and the unfolding narrative.

This performance is a good example of the use of electroacoustic material; a more minimal approach than in experimental contexts. The focus is on the resonant frequencies of the five elements, beat frequencies, entrainment, and deep listening to field recordings of natural sounds.

Résonance #9 [nt027]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

Starting a new phase in the development of electroacoustic material, those two performances come after a break from solo sets. Meanwhile, i have been generating material and adapting my electroacoustic range of sounds for the group Inclusion Principle. My approach to sound sculpture has gradually been focusing on minimal detail. The harmonic contents are simpler, to fit with other instruments, but also to hone in on particular frequencies and highlighting details of interaction, phase relations and interference patterns – beats.

By creating space, the focus shifts towards relations and the notion of distance and perspective. The texture, tonality and gestural quality of natural sounds is very much present, but we are delving deeper into the essential quality of sound, into the vibrational universe.

This spaciousness, and the invitation to practice deep listening naturally leads to the pratice of meditation and mindfulness through listening. So it felt right to present this work as nada, the sound of silence, and invite the audience to meditate using soundscapes as support of concentration; using the traditional meditation practice (also used by composer Pauline Oliveiros) that alternates and merges the close listening to detail with the awareness of the overal shape of our entire aural experience.

In a sense, i feel that this work, from the beginning, has been pointing in this direction, with the sculpting of field recordings aiming to bring attention to the very core, the vibrational quality, the very architectural characteristic of the reality we experience as sound. Similarly, the use of five elements, borrowed from spiritual practice and TCM also points to the internal working of natural balance. Sound as a metaphor for the nature of reality. Everything is sound.

 

 

 

 

 

 

 

 

 

 

 

Résonance #8 [nt026]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

This is a rather nice recording of two sets, both performed in the Showroom café bar, as a series of solo gigs i did in support of a jazz/experimental night i was running in the cinema bar.

A direct recording from the desk, this recording has a really detailed, intimate quality. Electronic beats meet cut up field recordings in a surreal crash between sound worlds. Nothing is prepared in advance. The sets are woven together and improvised moment to moment. You can hear as i call up samples, loop a selection on the fly, apply effects or processing and match the beats. I like that DIY quality of experimental dance music done à-la-improv with EA flavouring and field-rec gallore. These sets are the best of both worlds, improvised to an audience of passing cinema viewers who had no idea what hit them. Great times. And of course, the omnipresent drones are sculpted for your ears (and guts), vibrating the hell out of your chakras, with five elements delicious resonant frequencies. What’s not to like.

Résonance #7 [nt025]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

And for something different, here are two sets performed on the same night, in the Showroom café bar.
I was running a night of jazz, improvisation and experimental music, and during that time, provided support for the groups by doing solo laptop sets. It was an opportunity for me to continue developing my sound, and try out my approach to electroacoustic improvisation in different contexts. The café is a busy and noisy place, so I adapted my sound and abstract narratives adding electronic elements and beats.

Field recordings and electronics slyly seep in the dense noise and chatter, and gradually take over as the set intensifies. Deep bass rumbles and beats. Accidental noises and voices become part of the soundscape. Things escalate. Beats overlap. A glimmer of light. Well, you’ll just have to listen. It’s a trip.

 

 

 

 

 

 

 

 

 

 

 

 

Résonance #6 [nt024]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

These three live recordings from 2011 are good examples of how the work has evolved, gradually moving towards a minimal and meditative approach to electroacoustic performances.
We take the time to delve into the mood and narrative sequences offered by field recordings. Atmos tracks and resonant spaces frame environments where the five elements unfold and balance. Aspects of the previous series are carried over with sine tones that blend and interact with the resonant frequencies of natural sounds.

The recording process is also different, and works as a meditation in itself. And so the material recorded becomes more subtle, focusing on details that will blend into multiple layers in performance. Increasingly, it becomes obvious that the accidental convergence of sounds from different recordings occurs in a natural way – the music makes itself. This highlights the importance of using sounds that no agency other than nature itself created.
The world is sound, and all is music. I just let my meditations direct the microphones, in true art of the dérive, and let the moment inspire the sounds that are dealt in performance. How the layers communicate is magic.

 

 

 

 

 

 

 

 

 

 

 

Résonance #5 [nt023]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

Three live recordings performed close to each other, as a series that uses as a starting point a very simple set of sounds. And yet, each performance is quite different from the others in feel and narrative. Both are inspired by the environment.

Sound phenomena, using interference patterns and beat frequencies, occupy an illusory space, other than recorded sounds. Field recordings take a step back and leave at the front the interaction of sine waves in sets that also related to the resonant frequencies of the field recordings.

From conditions arise new experiences. Ghost tones appear and disappear, only created by interactions at work in the sonic world that unfolds within your ears.

Those room recordings are a little noisy at times, but it gives a sense of the place each piece was set against.

 

 

 

 

 

 

 

 

 

 

Résonance #4 [nt022]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

Three performances that focus on a more minimalist approach, delving deeper into the texture and tones of field recordings. Natural sounds animate those ambient improvisations whose static colours modulate to the resonant frequencies of the five elements.

With each performance featuring new samples, the database i am building is gradually offering a richer selection from the five elements, and i am also developing the process of sculpting natural sounds, inceasingly focusing on specific tones, or generally simpler harmonic contents. This allows for a more precise use of sine waves as they interact with processed field recordings. The improvisations reveal the physical interactions of vibrations, creating beats and other sound phenomena in the performance space.