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Tim Feeney
seeks to explore and examine the timbral possibilities inherent in everyday found and built objects. He treats his
percussion setup as a friction instrument, using bows, scrapers, and rosined drumheads to capture and amplify
frequencies that go unheard when an object is struck with a traditional mallet. He supplements this acoustic
console with an electronic instrument, arranged from mixers, contact microphones, and effects pedals, that synthesizes
and alters the spectral characteristics of low-fidelity tones, feedback, and noise.
Vic Rawlings
(Boston- amplifier/ prepared cello, speaker elements/ exposed circuitry) employs a still and unstable sound language
that traverses from the visceral excess of the Laurence Cook Disaster Unit to the extreme austerity of undr quartet.
He has designed and built 2 separate instruments to realize this aesthetic, including extensive and invasive cello
preparations- some directly based on obscure baroque instrumentation. The amplified cello is used as a resonant
wooden microphone. He also continually develops an electronic instrument from the exposed circuit boards of sound
processors, effectively producing an analog synthesizer with a highly unstable interface. This electronic instrument
is realized by a flexible array of exposed speaker elements, chosen for their often unpredictable and idiosyncratic
acoustic qualities.
