Riverrun (1986) for four computer- synthesized soundtracks

"Riverrun" creates a sound environment in which stasis and flux, solidity and movement coexist in a dynamic balance. The corresponding metaphor is that of a river, always moving yet seemingly permanent. The sound in this composition which bases itself on the smallest possible "unit" of sound in order to create larger textures and masses.
All sounds in this piece were real-time generated with synthesis by the DMX-100 Digital Signal Processor, up to a maximum density of 2375 grains/second. Most layers were multi-tracked with four simultaneous stereo versions and later mixed. Considerable use was made of ramps applied to the synthesis variables; that is, certain parameters were made to change over time at a specific rate, sometimes with several parameters simultaneously ramped at different rates.
"Riverrun" was commissioned by the Music Section of the Biennale di Venezia with the financial assistance of the Canada Council.
This work is entirely realized with the method of sound production known as granular synthesis. With this method small units or "grains" of sound are produced, usually with very high densities (100-2000 grains/sec.), with each grain having a separately defined frequency and duration. In the current implementation with the author's PODX system, there are two possible synthesis models, the first assigning a particular waveform to each grain, and the second defining a simple frequency modulation (FM) event. When the grains all have similar parameters, the result is a pitch and amplitude modulated sound, but when random variation is allowed in a parameter, a broad-band noise component is introduced.
All sounds in this piece were real-time generated with synthesis by the DMX-100 Digital Signal Processor, up to a maximum density of 2375grains/second. Most layers were multitracked with four simultaneous Stereo versions and later mixed. Considerable use was made of ramps applied to the synthesis variables; that is, certain Parameters were made to change over time at a specific rate, sometimes with several parameters simultaneously ramped at different rates. "Riverrun" was Commission ed by the Music Section of the Biennale di Venezia with the financial assistance of the Canada Council.

Born 1947 in Ontario/ Canada. Director of the Sonic Research Studio, professor at the Department of Communication and the Center for the Arts at Simon Fraser University. He graduated at Kingston and the University of British Columbia (sciences and music) and studied at the Institute of Sonology in Utrecht/ NL. In 1973 he went to Simon Fraser University and participated at the World Soundscape Project, which aroused his interest in environmental sound. Since 1972 Barry Truax has developed and used the POD computer music system for composition and sound synthesis which, in addition to c/assical and electronic technics, provides the sound material for most of his compositions. His works are mainly pure tape music or tape music combined with live-musicians. Many of these compos/tions have been performed at festivals in Europe, Northern America, A ustralia and New Zealand and have won international awards. Barry Truax publishes articles in magazines, is author and co-author of specialized textbooks and was the conference chairman of the International Computer Music Conference in Vancouver/Canada in 1985.

At the Prix Ars Electronica '87 Barry Truax participated with "Riverrun", a piece for four computer-synthesized sound-tracks, duration 19 '30", created 1986 in Burnaby/BC/Canada.