SINGING SAND was inspired by the sonic potential of real-time 3D mesh based computer graphics. It explores how various particle fluctuations, tensions or shape morphings sound like, what internal rhythms do they create and how that affects our perception of the visuals in return.
Sand resembling visual particles are sonified by mapping their individual velocities to various parameters of individual grains inside a granular synthesiser. At the same time the velocities determine the colours of the particles which creates a spectrum of colours and sounds. The aim of the composition was to explore how such audiovisual material could function in a free audiovisual paradigm and also how to meaningfully force it onto the grid of harmony and metric rhythm.
Visuals and particles based granulator were implemented in Max. Max for Live was used as a bridge between Live and Max.