Uploaded May 2019 | Updated September 2026, 2 weeks ago
Psappha Ensemble - psappha.com - Lauren Scott (Harp)
!Please use headphone for the best audio quality!
This piece is the second in a series of pieces of mine all ending with the suffix “-tronics.” The purpose of this series is to use technology as a means of exploring and amplifying the natural and unnatural sounds inherent in instruments. I’ve been particular drawn to the lever harp as part of this project due to the directness of the timbre. It’s an exciting instrument to approach from this perspective. the two effects used in this piece are distortion, and fuzz overdrive. The fuzz effect is omnipresent, intertwining with the sound of the instrument both amplifying the small changes of pitch centre through the levers, and giving a piercing fuzz on the middle and high register of the instrument. The distortion, when added on top of the overdrive acts a compressor, and smashes the timbral complexity into something more primal. In this piece I want to luxuriate in these sounds, and have set them together as expressive partners.
Learn more about Daniel: danielmehrlich.com
Psappha’s ‘Composing for…’ programme is supported by: Arts Council England; Garfield Weston Foundation; Idlewild Trust; PRS Foundation Talent Development Partner scheme; Radcliffe Trust; and RVW Trust.
Psappha Ensemble - psappha.com - Lauren Scott (Harp)
!Please use headphone for the best audio quality!
This piece is the second in a series of pieces of mine all ending with the suffix “-tronics.” The purpose of this series is to use technology as a means of exploring and amplifying the natural and unnatural sounds inherent in instruments. I’ve been particular drawn to the lever harp as part of this project due to the directness of the timbre. It’s an exciting instrument to approach from this perspective. the two effects used in this piece are distortion, and fuzz overdrive. The fuzz effect is omnipresent, intertwining with the sound of the instrument both amplifying the small changes of pitch centre through the levers, and giving a piercing fuzz on the middle and high register of the instrument. The distortion, when added on top of the overdrive acts a compressor, and smashes the timbral complexity into something more primal. In this piece I want to luxuriate in these sounds, and have set them together as expressive partners.
Learn more about Daniel: danielmehrlich.com
Psappha’s ‘Composing for…’ programme is supported by: Arts Council England; Garfield Weston Foundation; Idlewild Trust; PRS Foundation Talent Development Partner scheme; Radcliffe Trust; and RVW Trust.
