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Voiceprints and Red Bird
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3 CD Box Set: L'Oeuvre Musicale The complete works of Pierre Schaeffer, re-digitised and re-issued with newly discovered tracks.
Book and 3 x CDs: Solfege de l'Objet Sonore This book, accompanied by 285 tracks on 3 CDs of examples is a unique and indispensable resource work for all those interested in electroacoustic music. Examples by Parmegiani, Henry, Bayle, Xenakis, Luc Ferrari etc. illustrate Pierre Schaeffer's text.
Book: Audible Design by Trevor Wishart
5 CD Box Set: GRM Archive 5 CD Boxed Set containing music spanning half a century of GRM inspired compositions
12 CD Box Set: Parmegiani: l'Oeuvre Musicale The complete works of Bernard Parmegiani on 12 CDs

Trevor Wishart - Globalalia/Imago

Trevor wishart - Globalalia/ImagoA re-issue of Globalalia which explores human speech and the syllables common to all, and Imago, which is constructed entirely out of the sound of 2 whiskey glasses being clinked together. Classic Wishart at his best!

Wishart writes: "In Globalalia, I wanted to use human speech, but focus on what we hold in common as human beings. Although the world’s languages contain many millions of words, these are constructed from a much smaller set of sounds, the syllables. I wrote to several friends asking them to collect voices from their local radio stations, and also recorded voices from TV stations via satellite dish, assembling sounds from 134 voices in 26 different languages. I then edited these into their syllables, ending with more than 8300 sources."

Francis Dhomont - Etudes Pour Kafka

Francis Dhomont - Etudes Pour KafkaA new release from Francis Dhomont, who in the opinion of many is the greatest living composer of electroacoustic music. This CD contains 3 studies which were the seeds from which many of his other works grew. Behind major works of the scope of … mourir un peu, Sous le regard d’un soleil noir, and Forêt profonde, in these studies Dhomont experiments with the themes, tries out sound materials, and unveils glimpses of the final work. Dhomont at his best!

Denis Smalley - Sources - Scénes

Denis Smalley - Sources - ScénesrOne of our most popular titles is back in stock. Denis Smalley is one of the UK's best known composers of electroacoustic music, and this CD is a personal favourite of ours - definitely a desert island disc. The music is simply stunningly beautiful, the production and sound quality are as good as it gets. If you don't already have this CD, don't put it off any longer.
Parmegiani: l'Oeuvre MusicaleWe are fans of Bernard Parmegiani and so we now have all of his CDs in stock, including the newly released l'Oeuvre Musicale. If you don't know his music, we recommend that you make an acqaintence with it by listening to some clips and reading the comprehensive notes which we have on the site. Click here for links to his biography and all his CDs.
Pierre Hanry: Labyrinthe We now stock a selection of the best electroacoustic CDs from the GRM Catalog, both historic and new - Electroacoustic Classics from Pierre SchaefferPierre Henry Luc Ferrari and  Jean-Claude Risset are just some of the new offerings.

One of our most popular GRM titles is Pierre Henry's Labyrinthe - Pierre Henry says of Labyrinthe - "For the first time during my journey and ventures into the world of creation, I dreamt of a breath of fresh air deriving from the electronic realm." This CD is a real retrospective of this pioneer of electronic music.
New from Digital Music Archives - Download a continually expanding catalogue of electroacoustic music tracks!

You can now download a selection of single tracks of music from our website. All the tracks are encoded as top quality MP3s at 320k. All you have to do is go to our tracks page, add the ones you want to your shopping cart, and you will be presented with a webpage with links to the tracks as soon as your credit card payment has been authorised. You will also be sent an email with the links and a seven day period to download the tracks.
Our UK Event Listings service is now online....

We now have a listings page for concerts, festivals, conferences and workshops of electroacoustic music in the UK. We hope it will soon be the place to check up on whats happening and where. Its already up and running - click here! to check it out.
Looking for a course in electroacoustic composition? - Try our links page for some of the best places in the UK. You'll also find links to organisations and institutes all over the world.

Think we've missed out on something? Email us at and let us know.

CD Details for Trevor Wishart: Voiceprints and Red Bird

Voiceprints and Red Bird Trevor Wishart
This new double CD of music by Trevor Wishart (Voiceprints, Red Bird, Anticredos) presents different approaches to the human voice - another tour de force from this great composer and master of vocal transformations. Just released and essential listening.
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 Other Titles by Trevor Wishart 
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About the music

This CD presents various different approaches to the human volce.

The first two pieces are examples of Voiceprints, as in the album title, They recreate and transform the voices of well-known public figures in order to comment on them or their social context. Margaret Thatcher (Two Women: 1 & 3) is treated in the manner of the political cartoon, Princess Diana (2 & 4) in the manner of personal portraits or memento mori, and the voices of American Triptych as cultural icons of the American Dream.

In contrast, Anna ‘s Magic Garden, and Blue Tulips use the voices of people far from the public gaze, a young girl and a woman in her 80s, each reacting to special events in their lives, events which resonate with our own experience.

The final piece, Tongues of Fire, uses a brief recording of my own voice (the first 11 seconds you hear) to build an extended piece of music, 25 minutes in length. In the manner of traditional instrumental music, all the sounds in the piece derive from this initial utterance, and demonstrate the technical power of sonic instruments in developing and extending musical material in new ways. The expressive aim of Tongues of Fire is to explore the human situation through the manipulation of the human voice, This is a remix of the original recording, attempting to incorporate some of the gestural contrast and articulation heard in a live (diffused) performance.

The pieces span 20 years of work with the recorded voice. The earliest piece, Anna ‘s Magic Garden, was made in analogue studios in 1982, The software instruments used to transform the voices in the other pieces are too numerous to describe in detail, Many were developed by me specifically for the purpose. For example, track 2 of Two Women uses ‘waveset duplication’ to generate tiny pitch figures out of the noise elements in the speech stream, an extension of the traditional idea of musical ornamentation. In other pieces different techniques of time stretching, and spatialisation, are synchronised to particular vowels or consonants of the speech-stream..

Details of these and other sonic instruments can be found in the book Audible Design. The software tools are available through the Composers Desktop Project. Live pieces using new vocal techniques can also he found on the CDs Red Bird/A nticredos and The VOX cycle.

Other books and CDs are listed on the last page of this booklet

TWO WOMEN (1998)

1. Siren - Margaret Thatcher (quoting St Francis of Assisi

“Where there is discord, may we bring harmony.”

2. Facets - Princess Diana (on press photographers)

“There was a relationship Which worked before, but now I can’t tolerate it because it’s become abusive, and it’s harassment.”

3. Stentor - Ian Paisley (on Margaret Thatcher)

“Oh God, defeat all our enemies ... we hand this woman, Margaret Thatcher, over to the devil, that she might learn not to blaspheme. And Oh God in wrath, take vengeance upon this wicked, treacherous, lying woman ... Take vengeance upon her 0 Lord!”

4. Angelus - Princess Diana

“It was a fairy story ...that everyone wanted to work ....... It’s been worthwhile, yes it has .......... They were expected to be perfect .........(there were 60 to 90 photographers) ......... I want to be the queen of peoples hearts.” At the end of the twentieth century the two most widely known public votces of Britain were those of two very different women, Margaret Thatcher and Princess Diana.

Two Women explores their very different public personae, through the personality of their voices. These voices are treated in the manner of political cartoons (Thatcher, Paisley) or personal portraits (Diana).

All the sounds heard in movements two and four (except its end) and much of the material in movement 3, are derived from the voices of the speakers.

Two Women was commtsstoned by the D.A.A.D. in Berlin, and received its first performance in a concert celebrating the 50th Anniversary of Musique Concrete, at the Parochialkirke in Berlin, in September, 1998, using the diffusion system of the Berlin Technical University, directed by Folkmar Hein.


The twentieth century was dominated by the American Dream - liberty, technological progress and the pursuit of pleasure, represented here by the voices of Martin Luther King, the astronaut and moon-Walker Neil Armstrong, and Elvis Presley.

The fall of the Berlin wall seemed to herald the final triumph of this dream, and signalled to some, in the words of Francis Fukuyama, the “End of History”. As we move into the new millenium, how permanent or ephemeral will these icons be?

American Thiplych recreates and transforms these iconic voices. Alongside more conventional techniques, the piece plays with the poor quality of radio reception from space, using the ‘crackly’ noise background as source material, and sometimes processing the voices to reduce their sound quality and comprehensibility.

The piece was commissioned by the French Government for the Groupe de Recherches Musicales (GRM), and first performed on January 8th 2000, as part of the GRM’s Cycle Acousmatique concert series, in the Salle Olivier Messiaen at Radio France in Paris, on the Acousmonium multi-loudspeaker diffusion system. and the voices of......


This piece attempts to recapture the magic of the world as seen through the eyes of a three year old child. It uses the voice of my daughter Anna, her names (Anna Ruth) and a large number of other sources, electronic and real-world in origin. Sounds (Anna’s voice included) are often subtly (or radically) transformed.

The previous pieces on this album were all made using a small personal computer and a DAT machine. This piece, from a much earlier period, uses, amongst other things, the Buchia synthesizer, the Fairlight keyboard (which could play samples tuned at tiny, sub-semitone intervals, unlike a MIDI keyboard) and multi-track analogue recording facilities.

Source-sounds include 20-foot scaffolding pipes played as brass instruments, pop-guns (courtesy of Richard Orton), flexed spring steel, long bands of elastic, pears being eaten, and the sound of my shoes on the parquet floor of the York city library, recorded with the kind indulgence of the staff

The piece was made in the Electronic Music Studios of San Jose State University (director Allen Strange), and the University of Texas at Austin (director Barton McLean) in the summer of 1982. BLUE TULIPS (1994)

A woman of over 80 years recounts her slightly disturbing dream conceming a bunch of blue tulips found in the house of a friend.

[n 1994 I was approached by Gillian Moore of the London Sinfonietta (in association with the Firebird Trust) to help run a workshop, using music technology, with Senior Citizens, alongside the storyteller Ian Clayton of Yorkshire Poetry Circus. The workshop was to accompany the Sinfonietta’s first visit to this northern industrial towy. The workshop participants were almost all aged over 70, and none had experience of sound composition or improvisation. Not knowing exactly how we would proceed Ian began by eliciting true stories and dreams from the participants. I recorded these and took a day out to make two small pieces from them. Blue Tulips is just one of these.

The group used these pieces as the basis for theatre improvisations, performing these as a prologue to the Sinfonietta concert. They subsequently produced a sonic art piece of their own, working with the community composer, Duncan Chapman.


Tongues of Fire explores our human aspirations and absurdities, through the transformation of the human voice.

The slightly angry, disgruntled, comic muttering with which the piece begins is the source of all sounds subsequently heard in the piece, sounds suggesting drums, water, metallic resonances, fireworks, or entirely imaginary materials or events, all generated through processes of sound- transformation on the computer.

There are 4 main sections to the piece. The first lasts for 10 minutes, and ends as a granulating voice changes into a regular ticking sound, like a clock. After a brief pause, section 2 begins when the opening vocalisations are heard again, lead immediately to a rhythmic variation. These materials continue to develop, at one point the Voices accumulating into sounds like water around rocks in a stream.

Around 16 minutes, without a pause, we enter section three, when the theme’s rhythmic verston recurs, ushering in a collection of voice-derevied ‘machines’ and leading to a landscape of soaring noise bands. As these evaporate, the vocal granules become strongly pitched and an extended rhythmic climax culminates in the ‘fireworks’ transformations. Once these have subsided, the concluding section of reminiscences (the coda) begins.

A more detailed description of the musical form of the piece can be found in ‘Sonic Composition in Tongues of Fire’ in Computer Music Journal, Vol 24, No 2 (Summer 2000).

The music was made on a home computer, using software developed by myself and other participants in the Composers’ Desktop Project (CDP) supported by public domain software (Barry Vercoe’s Csound and Mark Dolson’s Phase Vocoder). The whole range of processing and texturing tools were used, including several new ones (e.g. spectral tracing, waveset distortion, sound-shredding), many of which were developed specially for this piece.

The final mixdown was planned at the GMEB studio in Bourges, France, but realised at home with the CDP software. This planning period was made possible by a commission from the GMEB studio and the assistance of the British Council, The premiere took place at the 1994 Synthese Festival in Bourges. Tongues of Fire was awarded the Golden Nica for computer music at the Linz Ars Electronica in 1995.

Other publications of Trevor Wishart

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Sonic Art

Red Bird (1977) ...political prisoner’s dream E+D
Fabulous Paris (1995) ...on megacittes T
Menagerie (1976) ic-ar. .assemblages+tape P
VOX 5 (1986) . voice of Shiva (see VOX cycle)

Live Music

Anticredos (1980) .6 voices, Singcircle E + D
VOX cycle (1989) ..4 voices,Electric Phoenix, tape, etc E+ D
Beach Singularity (1976) ic-ar ic-ar improvised beach music P


On Sonic Art Harwood Academic (ISBN :371 865847X) Bookshops
Audible Design Orpheus the Pantomime..(ISBN:095 103131 7).Bookshops+E+ D
Sounds Fun Kalmus (2 booklets of educational musical games) ....M M

Music Scores from. York University Music Press, Heslinglon, York, UK
(voice) Anticredos, VOX, (orchestra)Dance Music, (music theatre) Fidelio
(flute,tape), Tuba Mirum (tuba,tape), Pastorale- Walden 2 (flute,tuba, tape)

Software CDP tools and Sound Loom graphic interface from
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