The music of Dökk is designed to provide the narrative voice that accompanies the entire show, making it possible through sound to recount a whole series of emotions and states of mind that it would be hard to describe in words.
The method used for the production of Dökk’s soundtrack, was influenced by a non-linear approach, recording and editing generative musical sequences within compositions capable of creating unique audio events and random successions of notes and sounds.
A major contribution to the creative direction of the sound and structure of a number of pieces was the chance to take part and record during a music therapy session at Centro Armonico Terapeutico in Campogalliano, along with children and kids with special needs and pre-school mental age. Using these recordings as a starting point to create the sonorities of the first rooms, they represent childhood and the joy of the discovery.
During the production and mixing of the sounds, various audio synthesis tools and processes were adopted, from the use of semi-modular synths, to sound-design e field-recording techniques, right up to audio programming with the use of Max MSP (a graphic development environment), creating chains of effects for the elaboration of sound and patches of audio synthesis in real time for the interactive parts of the performance. One of these patches uses a system that includes four granular synthesis modules, in which each parameter is controlled by the position in space of the Neuron perception sensors, located on the performer’s hands and feet. Every movement makes it possible to explore and manipulate various audio samples taken from ambient recordings, triggering little sound fragments defined as ‘grains’ which have their own specific volumes, dimensions and frequencies.
The music for Dökk was designed, composed and mixed to be played through a 4.2 surround system so as to envelop the audience and create a multisensory experience which is as immersive as possible.