Tucson based sound sculptor Glenn Weyant
performs live subharmonic omnivibrational microtonal sound sculpture
coaxed, amplified and processed from steel, wood, iron and trans-oceanic
radio signals on the Kestrel 920, a sound transmogrifer of his own
It is calibrated to amplify and exploit the nano and overt vibrations
created through percussive blows, bowing, electromagnetic fields
and assorted manipulation.
At the heart of Kestrel 920 is a segment
of found lumber that has been hollowed to create a resonation chamber
for the mounting of a contact microphone.
The lumber has been strategically
mounted with found objects mostly including: a tuned dust pan, a
deconstructed satellite dish mount, assorted screws, nails, bungee
cords, wires and springs.
Other playing techniques will include
the use of feed back, radio signal, flute and ambient noise layered
and morphed live in real time to form a series of unique sound sculptures.
Weyant calls the result the Kestrel 920--"Kestrel" is his daughter's name, and Sept. 20 is her birthdate. But while Weyant willingly admits that the instrument produces noise, it isn't the sort that emanates from his baby girl. Depending on how Weyant strikes and strokes various parts of the thing, the sounds can be quite haunting and, yes, musical, as long as your definition of music doesn't require a nice tune and a steady beat.
Weyant plays the instrument with his fingers as well as a variety of mallets and even thin wooden skewers.
An informative article on the Kestrel 920 is available