My approach to the electric bass and electric double bass is based on the combination of specific playing techniques, extended techniques, and an electronic setup. At the center is the interaction between the physical properties of the instrument and the conditions of electronic sound production.
String vibration, resonance, damping, friction, feedback, amplification, and signal processing are not merely means of producing specific sounds, but constitute musical material in their own right. I am interested in how the deliberate modification of these conditions generates complex sound processes whose development is not entirely predetermined.
Playing technique, electronic setup, and space form an interconnected system. The playing technique activates the system, while the electronic setup and the spatial conditions directly affect the resulting sound and, in turn, the possibilities of playing technique. Sound therefore emerges from the interaction of these three dimensions.
The electronics are not a means of processing an already existing instrumental sound, but an integral part of the instrument and the sound-generation process. The physical behavior of the entire system itself becomes a musical subject.