Last C.D.: extended loudspeakers. on the label sub rosa. Click on the pictures to see them larger.
To read a comment and listen to samplers, click here: aquarius records and tap pierre berthet in"keywords". And here is another nice one by Nicholas Hennies and here are some comments during a wfmu radio show when Bryce sent an extract on the waves:
I actually saw a great performance by Berthet last year, one part with dripping water, the other with reversed vacuum cleaners. Sad thing is that there were only 8 of us in the audience. Fri. 4/30/10 1:52pm bryce:
oh shit, he was here?? cool!
last time i saw him was at XI at the end of ’07. lovely fellow.... Fri. 4/30/10 1:55pm Chris from DC:
I’d travel to see a performance if this is any indication. Fri. 4/30/10 2:03pm bryce:
very nice to see his thing in person... buncha objects hanging over your head beats two speakers any day.
but he lives in belgium and doesn’t make it out this way so often.... as of 2.5 years ago, he didn’t have a computer. yay! Fri. 4/30/10 2:03pm B:
Was Pierre hanging from the wires, or were the cans? Fri. 4/30/10 2:03pm bryce:
not sure. i lie face-down at most shows. Fri. 4/30/10 2:10pm jimm:
wow. pierre berthet. that’s incredible stuff. I would love to have him play at my wedding. Fri. 4/30/10 2:20pm
Collaboration and technical assistance: Patrick Delges - Centre de Recherches et de Formation Musicales de Wallonie
Suspended tin cans are linked to each others through a steel wire net. The length of the wires and the location of the cans are adapted to the dimension of the space. A loudspeaker put into one of the cans sends sounds so that the wires vibrate. Various resonances in the cans result of modulations of the injected sounds in their timbre, pitch, intensity and density. These resonances can be reinjected in the loudspeaker (feedback). The tin cans are suspended so that the listeners may walk in the installation to change their listening points.
Set up time: depends on the space, one day minimum
Set off time: 3 hours
Material needed: ladder, CD player, 2x100W amplifier, 8x220V arrivals for lightnings.
Here are a few examples of this installation :
Installation at gallerie "Les Brasseurs" (Liège - 2001)
Installation at gallerie "Mares" (Maastricht - 2001)
Performance at "Espace Plateau" (Bruxelles - 2000)
Variation of this installation that i use the most these days is "EXTENDED LOUDSPEAKERS WITHOUT MEMBRANES":
The membrane is reduced to the strict minimum. The purpose of this operation is to have the loudspeaker as silent as possible. But the cylinder of the loudspeaker should still remain suspended around the magnet so that it still vibrates when electric impulses are sent in the loudspeaker.
These vibrations are transmitted through steel wires attached to the cylinder on one side and to a net of tin can resonators on the other end. The tin cans are suspended in the space. So, the original sounds sent in the extended loudspeakers are filtered and reverberated through the installation.
In this sound example, original sounds are feedbacks and sine waves. It was recorded in Hasselt’s Begijnhof (Z33) in 2001 by Jean-Marc Sullon, Patrick Delges and Benoît De Clerck, mixed by Patrick Delges.
Since 2000, this principle has been experimented in various ways : as an installation working automatically and/or used by me and various musicians in performances.
It has been presented in art galleries :
In open air :
In unconventionnal spaces :
In concert places :
Original sounds used so far :
Here are some other pictures of "Extended loudspeakers without membrane", Gallery Surge, Tokyo 2003