The cycle of sound installations explores the acoustic potential of transforming metal cymbals into resonant loudspeakers using sound exciters. Initiated in 2022 with the composition If Kepler..., and continued in 2024 with the sound and light installation Titan Studies: planar, I am now placing the sound bodies in dialogue with an expanded concept of spatial sound.

In my imagination, these objects represent superhuman beings—carriers of mysterious forces of nature—that are translated into our world through primal human impulses.
To strongly interweave the visual and spectral space, I have positioned four 20” cymbals on multiple levels at various points throughout the space surrounding the visitors—with the intention of eventually creating a dense forest of cymbals.
As a sound source, I recorded a bass recorder whose spectrum is neither too complex nor too sine-wave-like. This allowed me to deliberately influence the intonation of the fundamental tones and to release inharmonic spectra—thanks to the phenomenon of sympathetic resonance.

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Since each cymbal possesses a unique spectrum, they respond individually to the same sound transmitted to their bodies by the sound exciters. Through their positioning and the software-controlled spatialization, a natural, vibrant, three-dimensional sound space emerges.

As a visitor, one finds oneself within an abstract sonic landscape, where the origin of the sounds—whether from flute or cymbals—merges into a meta-instrument.

The installation was documented using a 360° spatial microphone in Ambisonics A-format (Zoom H3-VR) and a 360° video camera—with the aim of capturing and conveying the spatial perception of sound, making it tangible, and inspiring reflection.​

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