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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.

MP3 Download Details for Trevor Wishart: Globalalia

Globalalia Trevor Wishart
A re-issue of Globalalia which explores human speech and the syllables common to all - a tour de force of sound manipulation, combination and orchestration - calssic Wishart - Brilliant!
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About the Music


The universal dance of human speech as revealed in 20 tales from everywhere, spoken in tongues.
In memorian, Scheherezade, died in suspicious circumstances, Abu Ghraib, 2004.

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.

To deal with this mass of sounds, I created a database in the Sound Loom to keep track of them. The most useful features to recall were the identity of the speaker; the language used; the gender/age of the speaker; the initial consonant (group) (if any); vowel (or vowel-glide); final consonant group (if any); pitch and pitch-glide; and some other qualities (brassy, breathy, rasping, bright, and so on). Syllables with specific properties could then be quickly selected for use.
To shape the piece I adopted the convention of the frame tale, where one story (the frame) is used as a device to tell other stories, the most famous example being Scheherezade, or the Arabian Nights. Scheherezade, after a night of passion, is to be executed by her husband, the King, but each day distracts him by telling a story, thus prolonging her own life.
Globalalia begins with a short ‘frame tale’ constructed from syllables taken from many people and languages. The tale recurs (always varied) throughout the piece, binding it together, and we hear it fading into the distance at the very end.
Between these lie the 20 “tales from everywhere” exploring the musical possibilities of particular syllables. For a more detailed description of the piece, see the “Sound Composition” book (details below). Here are just two examples.


..contrasts "ma", a soft-edged syllable that can be time-stretched without losing its identity,  with the more ‘matter-of-fact’ "rrr". “Ma”, when stretched, has a slightly pleading or pathetic quality,  as  the  mouth  appears  to  open  more  slowly.

"Rrr" is also time-stretched, but in a different way. It is an iterative - a series of discrete tongue-flaps. Simply looping the sound produces an implausible result (clearly a studio artefact, not a plausible extension of a human vocal sound). This is because there is no exact repetition in the natural sound – each tongue flap has a slightly different level, duration and quality. Hence a new process (Grain Extension), developed for this piece, separates the tongue-flaps then generates a new, longer sequence by reusing them but in randomly permuted sequences, thus preserving their unpredictability. This creates the illusion that the extended sound is merely another recording of the voice. If random pitch variation is then added, the voice takes on the character of flowing water.

Ceracu …based on syllables beginning with "k", this tale begins conversationally with  pauses revealing a texture of unvoiced "k" sounds. This leads to a rhythmic section having 5 elements.

(1) 2 "ceracucu" phrases, to left and right, each repeating, but in the exact duration proportion 14:15. Initially these are in sync, making the sound mono, centre stage, but the 2 streams go out of phase, making the image initially ‘reverberant’ then echoing left to right, returning via ‘reverb’ to re-sync at the cycle end, suddenly leaping back to stage centre.

(2) A bass motif & high syllables helping to define the tempo.

(3) A bass note pulsed against this tempo (3 v 2).

(4) The "k" texture, getting denser; circling slowly, then faster; shuddering in loudness, the shuddering accelerating; gradually high pass filtered so it moves higher in pitch.

The whole section is given impetus by moments where the entire sound-world is spectrally blurred. Not only does the spectrum shimmer, but the rhythmic structure is momentarily lost. Then, as the blurring factor rapidly decreases to zero (causing the sound to vibrate), the rhythmic energy of the music is released. Where this coincides with the rotating "k" texture, this appears to be thrown out of the blur into the space.

Globalalia was commissioned by Folkmar Hein for his 60th birthday and premiered at Inventionen, Berlin, in 2004. Special thanks to Natasha Barrett, Andrew Bentley, Warren Burt, Jane Kasam, Patrick Kosk and Kouhei who collected voices from the airwaves. Composing time was partly financed by a DAAD Fellowship, supporting my residence as Edgard Varése Visiting Professor at TU, Berlin, during the Spring of 2004.


‘…To see a world in a grain of sand…’
a ‘magical’ piece of sonic metamorphosis in which, from the single clink of two whisky-glasses, the most surprising events evolve, like the Imago (butterfly) emerging from its pupa.

In 2002 I made a 1-minute piece for Jonty Harrison’s 50th birthday concert, using sounds from his ‘et ainsi de suite’. One of these, the apparently simple sound of 2 whisky-glasses clinking, contained a surprising richness of possibilities that I began to explore further. At the time it had been suggested to me that sonic art was difficult to follow and one-dimensional. In Imago I wanted to make the musical logic clear, but retain the sensuous excitement of sounds and their transformations.

I first explored the possibilities of the source - less than 1/10th of a second long - but can only describe a few of the many processes used. For example, we can time-stretch the sound in various ways. Preserving the attack, and extending the tail, we associate the new sound with the original, as the bright attack is its most characteristic feature. Then, for example, reading the tail rapidly back and forth at random, as the sound level

and spectral-brightness rise and fall, the sound ‘flutters’. Or the whole sound, including the attack, might be stretched and with a long enough stretch, the attack dissolves and we generate spectrally fluid, coloured noise. Passing this through vowel-like filters we can suggest sounds of the human voice. At the very start of the ‘clink’ the rich inharmonic spectrum rushes past our ears so quickly that we hear only brightness. By freezing the spectrum immediately after the attack we can capture this richness and generate bell-like sounds.  We can  also stack transposed copies of these sound on top of one another so the attacks synchronise very precisely – the new sound fuses together as a single larger ‘bell’ (it is not heard as a combination of other bells). By slightly offsetting the attacks, we suggest clunky metallic sounds, used especially in the ‘gamelan’ section. By adding a tiny pitch-rise to the source, we suggest that the physical material of the source is elastic (rather than rigid) – the suggestion is of (strange) bird-song. By accumulating a mass of the source sound, we generate bands of noise, which can be manipulated to suggest ocean waves, or steeply enveloped and filtered to suggest plucked strings.
By combining a reversed copy of the sound with the original we generate  an  event  that  gets  louder  and  brighter,  then quieter

and less bright, similar to our experience of a sound that approaches us and then recedes. This new sound is initially not so telling as the ‘clink’ and bell-like sounds around it. But it gradually extends in time, and, through filtering, becomes pitch-coloured. Eventually, stacking together many copies transposed to several different pitches, and synchronised at their midpoint, we generate the climactic ‘Fugu’ sounds that approach and recede over the ‘ocean’-like section. Here, the ‘approaching’ sound is projected in mono (the same sound on both stereo channels) but at its loudest point, the two channels are momentarily time-stretched differently, so that the sound becomes stereo – this suggests an approaching ‘wave’ which breaks over our heads, and this suggestion can be enhanced by the way ‘Imago’ is diffused over a loudspeaker array.
Work on Imago was made possible through an
AHRB Creative Arts Fellowship.

Both pieces were made exclusively using the Sound Loom / Composers Desktop Projectsoftware. Further details about these pieces (and about diffusion) can be found in the new book “Sound Composition(2012). More information at

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