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Low Frequencies


I research what else is possible with low frequency sound. Infrasound and sub-bass as the frequency range that interests and guides the research alongside their relationships with bodies and subwoofer arrangements.

Generally via a three step creative methodology:

1.According to the measurements of the space, a calculation is made in order to understand exactly where to arrange the subwoofers in that space  (SUBMAP - using unorthodox arrangement styles). The aim is to explore sound cancellations and unusual ways of distributing sound pressure throughout the room.

2.Sub-bass & infrasound frequencies (generated via analog synthesis and digitally) are studied, analysed, and tested in relation to the space, the subwoofers, and the bodies. Frequencies are selected with special consideration to the ones that can be perceived by the human body.

3.With these frequencies selected, I then compose the piece for the installation. When the methodology is not realizible, I play live concerts:
THE SUB-BASS SESSIONS,


BODIES AND SUBWOOFERS (B.A.S.): Behind The Concept

BODIES AND SUBWOOFERS (B.A.S.)

B.A.S. previous installations

THE SUB-BASS SESSIONS (CONCERTS)




Low Frequencies


I research what else is possible with low frequency sound. Infrasound and sub-bass as the frequency range that interests and guides the research alongside their relationships with bodies and subwoofer arrangements.

Generally via a three step creative methodology:

1.According to the measurements of the space, a calculation is made in order to understand exactly where to arrange the subwoofers in that space  (SUBMAP - using unorthodox arrangement styles). The aim is to explore sound cancellations and unusual ways of distributing sound pressure throughout the room.

2.Sub-bass & infrasound frequencies (generated via analog synthesis and digitally) are studied, analysed, and tested in relation to the space, the subwoofers, and the bodies. Frequencies are selected with special consideration to the ones that can be perceived by the human body.

3.With these frequencies selected, I then compose the piece for the installation. When the methodology is not realizible, I play live concerts: THE SUB-BASS SESSIONS,




BODIES AND SUBWOOFERS (B.A.S.): Behind The Concept

BODIES AND SUBWOOFERS (B.A.S.)

B.A.S. previous installations

THE SUB-BASS SESSIONS (CONCERTS)


BODIES AND SUBWOOFERS (B.A.S.)

An ongoing investigation of the possible interactions between sub-bass, bodies, and subwoofers via a series of site-specific sound installations composed of subwoofer arrangements and sub-bass. Throughout organized sub-bass frequencies spoke by subwoofers, Stefanie Egedy explores how this particular frequency-range communicates with multiple types of bodies – not only human bodies, but also structural aspects of the space where the installation is presented, informing correlations between sound and constructional features (dimensions, materials, walls, columns, and floor).

Often without conscious awareness, bodies cultivate automation of perception. While usually inattentive to the complex network of physical resonances in its environment, bodies are sensitized through the materiality of larger sound waves. How interactions with sub-bass, and subwoofers offer new possibilities in creating and experiencing realities?