“Only Arrangement” was a performance collaboration created for MSUM’s New Music Ensemble, a course designed to explore unconventional and experimental music. The ensemble welcomed a wide range of compositions, ranging from atypical instrumentation to reimagined performance formats, including pieces played on theremins, water-filled jugs, and other nontraditional instruments.

For this project, a fellow music student wanted to perform Morton Feldman’s Only, but with a unique twist: applying modulation effects to the vocal performance. While the concept was still open-ended, I proposed a spatial audio setup that would transform the experience for the audience.

To realize the vision, I designed a quadraphonic speaker setup, placing four speakers at each corner of the audience. The idea was to process the live vocal performance through my computer in real-time, routing four distinct audio channels (each with independent modulation and distortion effects) to the individual speakers.

At the time, we weren't sure this was technically feasible. Fortunately, I discovered a PCI-based audio interface with a breakout box that offered four discrete ¼” outputs. Paired with Pro Tools, this setup allowed me to route and manipulate the live vocal through four separate modulation paths, achieving true spatial distortion in real time.

Two recordings were captured:

• A clean rehearsal take, undistorted.
• A stereo mixdown of the final performance (the original was quad-channel but collapsed due to recording limitations).

During setup, I coordinated with the student-run audio crew, explaining the need for four individual channels from the soundboard. Although the lead technician appeared to understand the request, things went sideways during the performance.

As the piece began, I noticed only the front speakers were active. From my position on stage (managing the processing computer), I tried to signal the technician. Eventually, the rear channels were abruptly enabled mid-performance, startling the audience.

Due to the abstract nature of the New Music Ensemble, many weren’t sure if the sudden audio shift was intentional. While the performance left the crowd somewhat puzzled, my collaborator delivered a beautiful and emotive vocal execution, and despite the technical hiccup, we succeeded in pushing boundaries with an ambitious concept.

• Live Audio Processing & Sound Design
Designed and executed real-time vocal modulation across a quadraphonic speaker array.

• Pro Tools Configuration
Set up and routed four independent audio outputs using a PCI-based audio interface.

• Creative Direction & Technical Problem Solving
Bridged musical interpretation with technical infrastructure to enable an immersive sound experience.

• Collaboration & Communication
Coordinated with performers and tech crew to align creative goals with logistical execution.