General needs:

[If some of these seem self-evident, petty or arrogant to you, please bear in mind that many small but annoying things might add up to contribute to the fatigue that might affect the quality of the performance that you asked for and care about. And if you say, “of course I will obviously provide these things”, please be aware that they have been written here for the reason that it wasn't so obvious for someone at some point, and that made me decide I'll make sure it doesn't happen again. So here you are. If you do your best to help with these things I will love you and spread the word around!]

Scaffolding built up ...

For the Stringed Stirrups:

... of the hooks in the ceiling.
Scaffolding built up in Stavanger 2002 to test the security of the hooks in the ceiling.
... to test the security ...
  • Set-up time: about 2 h, including sound check.
  • Clearing time: quickly between sets, the instrument can be pulled to the side with a rope in 3 minutes; full clearing about 40 minutes (ladder and clearance from people mentioned below are needed for this as well!).
  • Height of the ceiling / pole above the floor: at least 6 m, preferably 8.
  • Ladder for ceiling work (first for mounting the strings, then a lower one, possibly a chair, for climbing the instrument before and after playing it).
  • Clearance from people is needed for security reasons when I work with the strings, since injuries can happen quickly and be serious (destroying eyes e.g.!).
  • Existing poles, tubes etc. in the ceiling or a corresponding high point (even outdoors) are the easiest solution, if they hang out at least one meter from any wall.
  • (Otherwise drill and hooks if necessary: possibility to drill up hooks in the ceiling, which can be charged with the weight of one person - or a corresponding stable system for hanging, like a pole.)
  • PA with sub-bass (important for good sound!) with ordinary Canon ("jack", "tele", "quarter inch", 3.5 mm) input close to stage or a DI box on stage. The Stringed Stirrups are amplified with a built-in contact microphone, so no need to worry about mikes.
  • Monitored hearing on stage, that can be well heard from my hanging/playing position.
  • Stage lighting.
Measuring and cutting the piano wire ... ... for a gig in Oakland ... ... wearing security goggles.
Measuring and cutting the piano wire for a gig in Oakland, wearing security goggles.

For the Singing Coffin:

  • One or two mild lamps, no colours, to light up the coffin from the outside.

Podium built for the Singing Coffin at Arvika Festival.
Podium built for the Singing Coffin at Arvika Festival.

  • One very small lamp, possibly flashlight, that I hold when I am lying in the coffin, and is lying in the coffin when I am pausing. It lights up my face from the inside.
  • No amplification is basically needed, the coffin sounds by itself. However, if the atmosphere is very noisy, an extra amp is needed.
  • An electric chord with two outputs is needed at the coffin, one for my own mixer (230 V), one for the small lamp (if not flashlight).
  • The coffin should stand on a podium which should be black, wooden or white, which is larger than the coffin and has room for the mixer by the foot end. Height: 80 cm, width min. 100 cm, length min. 260 cm.
  • Costs for materials: none, if you can arrange the podium.
  • Playing location: indoors or outdoors where people are passing by, if there's some room and space around, and not too disturbing noises around. At heavy rain, I should move inside. Two people (preferably four) should be able to move the podium with everything, after the chords are disconnected. The mixer must always be covered by something rain- and theft proof! It could also be a stage act, but then about 15 minutes.
  • Security: I must be protected by vigilant guards at all times, since I am quite helpless and I have noticed that many people feel provoked by my singing in the coffin and can, for some reason, become violent! Otherwise I welcome communication with friendly spectators, who can also interact with me if they wish.
  • Performing time: up to two hours. (If not a stage act.)
A special room for the mixer under the foot part of the coffin.
A special room for the mixer under the foot part of the coffin.

[The Kaleidochord, from the Croydon exhibition]
The Kaleidochord, from the Croydon exhibition (with glass and with the table built especially for it by the exhibition team).

For the Kaleidochord (on exhibition):

  • Size about 52 x 110 and 50 cm high, it should be mounted on a table minimum that size. The transparent plastic sheets to protect the action are screwed into the table.
  • Amp needed, small mixer needed. The mixer needs 5 inputs from the Kaleidochord. I'll do the levels and eqs when I install it and then it's just left on all the time, or turned on when the gallery opens. The speaker(s) should be in front of the ears of the player so it doesn't become too loud for the environment. Basic principle is always: the player will hear a louder sound than anyone else!

For performance of L'ultima spiaggia:

  • A macintosh computer equipped with AppleWorks 6 or higher, connected to a projector and screen for projections.
  • PA.
  • Other equipment (Mackie 1202 mixer, minidisc player, voice microphone, computer for Max sound files) provided by myself.
Setup för ett framförande i Linköping.
Setup for a performance in Linköping.

BE/AE language flag Description of and needs for a workshop in Experimental musical instrument building and creative sound research and discovering with contact microphones
Beskrivning av och behov för en workshop i Experimentellt musikinstrumentbygge och kreativ ljudforskning samt upptäckande med kontaktmikrofoner

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Updated the 31st of July, 2013.