The Cloud Orchestra: Interactive Sound Installation at LA Phil
Premiered at Walt Disney Concert Hall as part of the Noon to Midnight festival, this 12-hour immersive sound installation merged the boundaries between generative music and the sounds of nature. It brought years of experimentation with artificial bird sounds, field recordings, and generative compositions into a single, cohesive experience.
The installation consisted of five interconnected parts: cassettes, vinyl records, reel-to-reel tapes, generative music, and an acoustic resonator. Together, these elements created a live, ever-evolving sound collage.
At its heart, The Cloud Orchestra was designed to be interactive. Visitors engaged directly with the soundscape, creating their own mix of bird songs, natural atmospheres, and generative compositions. The goal was not just to listen but to participate—to feel like an artist shaping the soundscape rather than a passive observer.
Cassettes: A Living Archive of Bird Songs
Sixty audio cassettes were central to the installation, each containing one unique artificial bird song, representing one of 15 generative bird flocks. These songs were played on ten cassette players with built-in loudspeakers. Visitors selected cassettes based on their descriptions, which detailed the birds' origins and characteristics, and placed dictaphones in various spots on the interaction tables. This arrangement allowed the cassette sounds to blend organically with the generative music playing throughout the space.
To capture the evolving soundscape created by the interaction table, I positioned two highly sensitive Oktava microphones above it. These mics recorded the sounds of dictaphones being moved, played, and arranged, integrating them into the larger sound system and projecting them through the installation’s main speakers. This setup enhanced the immersive experience, ensuring that every action contributed to the overall composition.
Color differentiation on the cassettes helped distinguish the bird flocks, adding a layer of visual interaction. Participants could also use headphones to explore the soundscape in greater depth, gaining control over the stereo field and immersing themselves more fully in the artistic process.
Vinyl Records: Field Recordings as Instruments
Another key element of The Cloud Orchestra was a series of ten vinyl records, specially cut for the installation. These records contained three hours of unique field recordings from locations around the world, including Portugal, Poland, Seychelles, and California. Among these was a collection of archival recordings made in 1978 by Dara Irani, nephew of Avatar Meher Baba, in India. These recordings, featuring atmospheric sounds and spiritual talks, were originally created for Pete Townshend using equipment provided by him. Townshend granted permission for their inclusion, adding a deeply historical and personal layer to the project. Each record featured a unique cover designed by Tata Vislevskaya, who used medium format film photos to create visually stunning artwork.
The vinyl records were expertly cut in real time by my firend Luke Elliott, an engineer whose craftsmanship preserved the integrity of the recordings. The recordings were left uncompressed and unmastered, preserving their natural dynamic range. Sounds like wind were kept barely audible, while tropical rainstorms were recorded with full intensity, capturing the authentic textures of the natural world.
Participants played the records on a turntable, choosing sounds to layer into the installation’s sonic environment. This interaction gave them a direct role in shaping the soundscape, transforming the vinyl records into instruments of artistic expression.
Reel-to-Reel: Nagra IV-S and Sony
Two reel-to-reel machines provided a mid-range layer to the installation’s frequency spectrum. I prepared ten reels of tape, each containing 45 minutes of slowed-down field recordings, which were played at half-speed to emphasize the unique textures and atmospheres of meadows, forests, water, and wind. The physical presence of these machines added a visual component, sparking conversations and admiration among visitors.
Generative Music and an Acoustic Resonator
Generative music was played through the Onde acoustic resonator by La Voix du Luthier. This resonator, which uses vibrating wood instead of traditional speakers, produced organic, naturalistic tones that seamlessly blended with the bird songs and field recordings. Solo instruments, processed through my Hachijo Tape Manipulator, were also highlighted, adding a dynamic, generative element to the installation. This blend of sound introduced unexpected and organic musical layers into the environment.
Transforming Listeners into Artists
The Cloud Orchestra was about more than just sound; it was about creating a space where visitors could feel a sense of creative ownership. The interactive nature of the installation invited participants to explore, experiment, and contribute to the evolving soundscape. It emphasized the unpredictable beauty of generative music and the dynamic relationship between humans and nature.
Presenting this work at Walt Disney Concert Hall marked a culmination of years of artistic exploration. From the immersive sounds of artificial bird songs to the tactile interaction with cassettes and vinyl, The Cloud Orchestra invited audiences to experience sound as a living, breathing entity—one that evolves, shifts, and adapts in real time.
