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Pulse Generator + Korg Looper w/ BASF SM911 🖤 #analogambitions #betterwithheadphones

The Dalton Harris residency report in sound: all trombone 24 track 2” tape loop on the Otari workhorse. A musique-concrète-tape-techniques-Mardi-Gras-on-acid-trip one could argue. This little over three minutes exposé is just a fraction of the work we’ve accomplished. What a instrumentalist, musician, human is this guy 🖤

#analogambitions #trombone #newmexicocontemporaryensemble @nmcontemporaryensemble #daltonharristrombone

🪚🔩⚙️🔧 〰️ Finding the exact screw that helps you to get to the next step / the search for the ideal metal pipe / or how materials (should not) be allowed to remain as they are. During the symposium ᴛʜᴇ ʜᴀʀᴅᴡᴀʀᴇ ꜱᴛᴏʀᴇ ᴀꜱ ᴀ ᴄᴏᴍᴘᴏꜱɪᴛɪᴏɴᴀʟ ᴛᴏᴏʟ, it became clear that the answers to questions about creative processes were more often found in chance and tinkering than in preconceived musical structures.

Students from @fontys.conservatoriumtilburg worked on a collaborative polyphonic flute with Magdalena Forster and Hannah Todt, and Kevin Toksöz Fairbairn shared his process of transforming raw materials into an unpredictable parasitic instrument.

@todtgeboren @magphorster @kevintoksozfairbairn @livingcomposerssociety @fontys.academyofthearts

📸 Amy van de Klundert & Jostijn Ligtvoet Fotografie

🪚🔩⚙️🔧 〰️ Finding the exact screw that helps you to get to the next step / the search for the ideal metal pipe / or how materials (should not) be allowed to remain as they are. During the symposium ᴛʜᴇ ʜᴀʀᴅᴡᴀʀᴇ ꜱᴛᴏʀᴇ ᴀꜱ ᴀ ᴄᴏᴍᴘᴏꜱɪᴛɪᴏɴᴀʟ ᴛᴏᴏʟ, it became clear that the answers to questions about creative processes were more often found in chance and tinkering than in preconceived musical structures.

Students from @fontys.conservatoriumtilburg worked on a collaborative polyphonic flute with Magdalena Forster and Hannah Todt, and Kevin Toksöz Fairbairn shared his process of transforming raw materials into an unpredictable parasitic instrument.

@todtgeboren @magphorster @kevintoksozfairbairn @livingcomposerssociety @fontys.academyofthearts

📸 Amy van de Klundert & Jostijn Ligtvoet Fotografie

🪚🔩⚙️🔧 〰️ Finding the exact screw that helps you to get to the next step / the search for the ideal metal pipe / or how materials (should not) be allowed to remain as they are. During the symposium ᴛʜᴇ ʜᴀʀᴅᴡᴀʀᴇ ꜱᴛᴏʀᴇ ᴀꜱ ᴀ ᴄᴏᴍᴘᴏꜱɪᴛɪᴏɴᴀʟ ᴛᴏᴏʟ, it became clear that the answers to questions about creative processes were more often found in chance and tinkering than in preconceived musical structures.

Students from @fontys.conservatoriumtilburg worked on a collaborative polyphonic flute with Magdalena Forster and Hannah Todt, and Kevin Toksöz Fairbairn shared his process of transforming raw materials into an unpredictable parasitic instrument.

@todtgeboren @magphorster @kevintoksozfairbairn @livingcomposerssociety @fontys.academyofthearts

📸 Amy van de Klundert & Jostijn Ligtvoet Fotografie

🪚🔩⚙️🔧 〰️ Finding the exact screw that helps you to get to the next step / the search for the ideal metal pipe / or how materials (should not) be allowed to remain as they are. During the symposium ᴛʜᴇ ʜᴀʀᴅᴡᴀʀᴇ ꜱᴛᴏʀᴇ ᴀꜱ ᴀ ᴄᴏᴍᴘᴏꜱɪᴛɪᴏɴᴀʟ ᴛᴏᴏʟ, it became clear that the answers to questions about creative processes were more often found in chance and tinkering than in preconceived musical structures.

Students from @fontys.conservatoriumtilburg worked on a collaborative polyphonic flute with Magdalena Forster and Hannah Todt, and Kevin Toksöz Fairbairn shared his process of transforming raw materials into an unpredictable parasitic instrument.

@todtgeboren @magphorster @kevintoksozfairbairn @livingcomposerssociety @fontys.academyofthearts

📸 Amy van de Klundert & Jostijn Ligtvoet Fotografie

🪚🔩⚙️🔧 〰️ Finding the exact screw that helps you to get to the next step / the search for the ideal metal pipe / or how materials (should not) be allowed to remain as they are. During the symposium ᴛʜᴇ ʜᴀʀᴅᴡᴀʀᴇ ꜱᴛᴏʀᴇ ᴀꜱ ᴀ ᴄᴏᴍᴘᴏꜱɪᴛɪᴏɴᴀʟ ᴛᴏᴏʟ, it became clear that the answers to questions about creative processes were more often found in chance and tinkering than in preconceived musical structures.

Students from @fontys.conservatoriumtilburg worked on a collaborative polyphonic flute with Magdalena Forster and Hannah Todt, and Kevin Toksöz Fairbairn shared his process of transforming raw materials into an unpredictable parasitic instrument.

@todtgeboren @magphorster @kevintoksozfairbairn @livingcomposerssociety @fontys.academyofthearts

📸 Amy van de Klundert & Jostijn Ligtvoet Fotografie

🪚🔩⚙️🔧 〰️ Finding the exact screw that helps you to get to the next step / the search for the ideal metal pipe / or how materials (should not) be allowed to remain as they are. During the symposium ᴛʜᴇ ʜᴀʀᴅᴡᴀʀᴇ ꜱᴛᴏʀᴇ ᴀꜱ ᴀ ᴄᴏᴍᴘᴏꜱɪᴛɪᴏɴᴀʟ ᴛᴏᴏʟ, it became clear that the answers to questions about creative processes were more often found in chance and tinkering than in preconceived musical structures.

Students from @fontys.conservatoriumtilburg worked on a collaborative polyphonic flute with Magdalena Forster and Hannah Todt, and Kevin Toksöz Fairbairn shared his process of transforming raw materials into an unpredictable parasitic instrument.

@todtgeboren @magphorster @kevintoksozfairbairn @livingcomposerssociety @fontys.academyofthearts

📸 Amy van de Klundert & Jostijn Ligtvoet Fotografie

Students of @fontys.academyofthearts @fontys.conservatoriumtilburg are participating in the workshop by @todtgeboren and @magphorster . We’re building a polyphonic flute installation, to be played by 8 people. All organized by @hetconcreet in their new space in @ns16_tilburg

Students of @fontys.academyofthearts @fontys.conservatoriumtilburg are participating in the workshop by @todtgeboren and @magphorster . We’re building a polyphonic flute installation, to be played by 8 people. All organized by @hetconcreet in their new space in @ns16_tilburg

Students of @fontys.academyofthearts @fontys.conservatoriumtilburg are participating in the workshop by @todtgeboren and @magphorster . We’re building a polyphonic flute installation, to be played by 8 people. All organized by @hetconcreet in their new space in @ns16_tilburg

ａ ｎｅｗ ｈｏｍｅ

We are overly excited to announce that we have found a new home at NS16. For the past six years, our search for a stable and fitting environment for our studio has took us in so many directions. As an artist collective working with sound and analog electronics, being able to rely on a durable and inspiring environment heavily impacts the way in which you are able to create work and collaborate with peers. NS16 is just the place for that: a community for artists and initiatives that celebrates craft and facilitates the arts scene in Tilburg for over 20 years.

Over the next months we will transition to our new space in the basement with the help of gemeente Tilburg. First stop: our studio symposium ‘The hardware store as a compositional tool’ on May 21st. Stay tuned!

t̲h̲e̲ ̲h̲a̲r̲d̲w̲a̲r̲e̲ ̲s̲t̲o̲r̲e̲ ̲a̲s̲ ̲a̲ ̲c̲o̲m̲p̲o̲s̲i̲t̲i̲o̲n̲a̲l̲ ̲t̲o̲o̲l̲

Instrument builders, composers, and performers have long operated in adjacent but separate spheres. Many contemporary music practices have proven these contradictions false, by overthrowing boundaries of discipline and function. These artistic practices understand that to design a new resonating body is to open new compositional possibilities, and that certain musics become thinkable only after the instrument exists that can carry them.

During the studio symposium ‘The hardware store as a compositional tool’, we explore the act of instrument building as a compositional act, a practice in which the decisions made in the workshop are as musically significant as those made at the writing desk or the mixing board.
For this studio symposium, we have invited Kevin Toksöz Fairbairn and Hannah Todt. Kevin Toksöz Fairbairn is a performer, sound artist, and scholar working around the edges of installation, improvisation, composition, and craft. He has been building traditional, experimental, and invented instruments for decades and currently presents concerts and installations with a series of hybrid acoustic instruments developed and constructed over the last five years. Hannah Todt is a visual artist and musician based in Vienna and Brussels. Through sound, performance, and sculpture, she reflects on the relationships between human and non-human bodies, as well as on the social conditions of knowledge production. Her practice is deeply informed by collaborative methods grounded in listening and exchange, and by an attentiveness to subtle shifts in function that both reveal information and refer to the validity and mutability of meaning. @kevintoksozfairbairn @todtgeboren

~ May 21, 15:00-17:00h
~ NS16
~ Free entrance
~ DM to reserve a seat

t̲h̲e̲ ̲h̲a̲r̲d̲w̲a̲r̲e̲ ̲s̲t̲o̲r̲e̲ ̲a̲s̲ ̲a̲ ̲c̲o̲m̲p̲o̲s̲i̲t̲i̲o̲n̲a̲l̲ ̲t̲o̲o̲l̲

Instrument builders, composers, and performers have long operated in adjacent but separate spheres. Many contemporary music practices have proven these contradictions false, by overthrowing boundaries of discipline and function. These artistic practices understand that to design a new resonating body is to open new compositional possibilities, and that certain musics become thinkable only after the instrument exists that can carry them.

During the studio symposium ‘The hardware store as a compositional tool’, we explore the act of instrument building as a compositional act, a practice in which the decisions made in the workshop are as musically significant as those made at the writing desk or the mixing board.
For this studio symposium, we have invited Kevin Toksöz Fairbairn and Hannah Todt. Kevin Toksöz Fairbairn is a performer, sound artist, and scholar working around the edges of installation, improvisation, composition, and craft. He has been building traditional, experimental, and invented instruments for decades and currently presents concerts and installations with a series of hybrid acoustic instruments developed and constructed over the last five years. Hannah Todt is a visual artist and musician based in Vienna and Brussels. Through sound, performance, and sculpture, she reflects on the relationships between human and non-human bodies, as well as on the social conditions of knowledge production. Her practice is deeply informed by collaborative methods grounded in listening and exchange, and by an attentiveness to subtle shifts in function that both reveal information and refer to the validity and mutability of meaning. @kevintoksozfairbairn @todtgeboren

~ May 21, 15:00-17:00h
~ NS16
~ Free entrance
~ DM to reserve a seat

t̲h̲e̲ ̲h̲a̲r̲d̲w̲a̲r̲e̲ ̲s̲t̲o̲r̲e̲ ̲a̲s̲ ̲a̲ ̲c̲o̲m̲p̲o̲s̲i̲t̲i̲o̲n̲a̲l̲ ̲t̲o̲o̲l̲

Instrument builders, composers, and performers have long operated in adjacent but separate spheres. Many contemporary music practices have proven these contradictions false, by overthrowing boundaries of discipline and function. These artistic practices understand that to design a new resonating body is to open new compositional possibilities, and that certain musics become thinkable only after the instrument exists that can carry them.

During the studio symposium ‘The hardware store as a compositional tool’, we explore the act of instrument building as a compositional act, a practice in which the decisions made in the workshop are as musically significant as those made at the writing desk or the mixing board.
For this studio symposium, we have invited Kevin Toksöz Fairbairn and Hannah Todt. Kevin Toksöz Fairbairn is a performer, sound artist, and scholar working around the edges of installation, improvisation, composition, and craft. He has been building traditional, experimental, and invented instruments for decades and currently presents concerts and installations with a series of hybrid acoustic instruments developed and constructed over the last five years. Hannah Todt is a visual artist and musician based in Vienna and Brussels. Through sound, performance, and sculpture, she reflects on the relationships between human and non-human bodies, as well as on the social conditions of knowledge production. Her practice is deeply informed by collaborative methods grounded in listening and exchange, and by an attentiveness to subtle shifts in function that both reveal information and refer to the validity and mutability of meaning. @kevintoksozfairbairn @todtgeboren

~ May 21, 15:00-17:00h
~ NS16
~ Free entrance
~ DM to reserve a seat

During Roadburn Offroad, Het Concreet pays tribute to La Monte Young in St. Jozefkerk on Thursday, April 16. The performance explores sound as duration – not as an event, not as melody or rhythm, but as a condition. Sound that exists just as the air exists: unbegun, infinite, itself. Free entry and exit between 7.00 and 10.00 PM.

𝔱𝔬 𝔟𝔢 𝔥𝔢𝔩𝔡 𝔣𝔬𝔯 𝔞 𝔩𝔬𝔫𝔤 𝔱𝔦𝔪𝔢

On Thursday evening, April 16, Het Concreet honors minimal music pioneer and Fluxus proponent La Monte Young during Roadburn Offroad. The performance explores the experience of sound and time by sustaining two notes for a long time. They constitute an exercise in attention, reflection, and patience.

The performance takes place in the St. Jozefkerk on the Heuvel, right next to @013poppodium, where Roadburn visitors, churchgoers, and concertgoers gather. The piece will be performed continuously for three hours, during which visitors are free to enter and exit and find their own place in the sound universe.

〰️ Thursday April 16, 19:00-22:00h
〰️ Free entry and exit at all time
〰️ St. Jozefkerk (Heuvel)
〰️ w/ Jacqueline Hamelink, Bram Stadhouders, Mathijs Leeuwis, Mathijn den Duijf & Anneroos Goosen

𝔱𝔬 𝔟𝔢 𝔥𝔢𝔩𝔡 𝔣𝔬𝔯 𝔞 𝔩𝔬𝔫𝔤 𝔱𝔦𝔪𝔢

On Thursday evening, April 16, Het Concreet honors minimal music pioneer and Fluxus proponent La Monte Young during Roadburn Offroad. The performance explores the experience of sound and time by sustaining two notes for a long time. They constitute an exercise in attention, reflection, and patience.

The performance takes place in the St. Jozefkerk on the Heuvel, right next to @013poppodium, where Roadburn visitors, churchgoers, and concertgoers gather. The piece will be performed continuously for three hours, during which visitors are free to enter and exit and find their own place in the sound universe.

〰️ Thursday April 16, 19:00-22:00h
〰️ Free entry and exit at all time
〰️ St. Jozefkerk (Heuvel)
〰️ w/ Jacqueline Hamelink, Bram Stadhouders, Mathijs Leeuwis, Mathijn den Duijf & Anneroos Goosen

Some OFFROAD experiences ask for a different kind of attention. In Schouwburg Concertzaal Tilburg, Jana Jacuka’s HA turns the voice into a bodily force that moves beyond language. In St. Jozefkerk, Het Concreet performs a tribute to La Monte Young’s Composition 1960 #7, stretching sound and time into something almost physical. And at De Pont, Steve McQueen’s ATLAS invites visitors into a journey through image, sound and the cosmos - with McQueen also joining director Martijn van Nieuwenhuyzen for a talk at the museum on Thursday 16 April. Three OFFROAD moments that resonate far beyond the immediate.

Some OFFROAD experiences ask for a different kind of attention. In Schouwburg Concertzaal Tilburg, Jana Jacuka’s HA turns the voice into a bodily force that moves beyond language. In St. Jozefkerk, Het Concreet performs a tribute to La Monte Young’s Composition 1960 #7, stretching sound and time into something almost physical. And at De Pont, Steve McQueen’s ATLAS invites visitors into a journey through image, sound and the cosmos - with McQueen also joining director Martijn van Nieuwenhuyzen for a talk at the museum on Thursday 16 April. Three OFFROAD moments that resonate far beyond the immediate.

Some OFFROAD experiences ask for a different kind of attention. In Schouwburg Concertzaal Tilburg, Jana Jacuka’s HA turns the voice into a bodily force that moves beyond language. In St. Jozefkerk, Het Concreet performs a tribute to La Monte Young’s Composition 1960 #7, stretching sound and time into something almost physical. And at De Pont, Steve McQueen’s ATLAS invites visitors into a journey through image, sound and the cosmos - with McQueen also joining director Martijn van Nieuwenhuyzen for a talk at the museum on Thursday 16 April. Three OFFROAD moments that resonate far beyond the immediate.

Het Concreet welcomes Didianne Leusink, selected through an open call in collaboration with Intro in Situ and De Link.

In 2026, Leusink will work in the studio across a series of sessions, developing her ongoing research into listening as a relational condition—emerging through contact between bodies, materials, and temporalities. Her glass-blown records, marked by bubbles, warping, and irregular grooves, displace the logic of playback and foreground the sonic agency of matter itself.

At Het Concreet, these records enter into dialogue with tape and other analog systems. Not as instruments to be controlled, but as sites of resistance, inscription, and co-articulation. Through slow processes of recording and live manipulation, the work unfolds as an inquiry into how sound is produced across material thresholds.

Outcomes will be presented in Heerlen during Cultura Nova (August 28 - September 6) and Tilburg during Tracking Tilburg (November 28).

- -

Het Concreet verwelkomt Didianne Leusink, geselecteerd via een open call in samenwerking met Intro in Situ en De Link.

In 2026 werkt Leusink tijdens een aantal sessies in onze studio aan haar onderzoek naar luisteren en hoe geluid ontstaat in interactie met materialen en lichamen. Haar glasgeblazen platen, met luchtbellen, kleine vervormingen en onregelmatige groeven, zorgen voor onverwachte klanken en laten zien hoe het materiaal zelf een rol speelt in het geluid.

Bij Het Concreet onderzoekt ze hoe deze platen kunnen samenwerken met tape en andere analoge systemen. Niet als instrumenten die je helemaal kunt beheersen, maar als materialen die hun eigen karakter en weerstand laten horen. Door opnemen, live bewerken en experimenteren ontstaat een uniek klankonderzoek.

De resultaten zijn te horen in Maastricht tijdens Cultura Nova (28 augustus – 6 september) en in Tilburg tijdens Tracking Tilburg (28 november).

Het Concreet welcomes Didianne Leusink, selected through an open call in collaboration with Intro in Situ and De Link.

In 2026, Leusink will work in the studio across a series of sessions, developing her ongoing research into listening as a relational condition—emerging through contact between bodies, materials, and temporalities. Her glass-blown records, marked by bubbles, warping, and irregular grooves, displace the logic of playback and foreground the sonic agency of matter itself.

At Het Concreet, these records enter into dialogue with tape and other analog systems. Not as instruments to be controlled, but as sites of resistance, inscription, and co-articulation. Through slow processes of recording and live manipulation, the work unfolds as an inquiry into how sound is produced across material thresholds.

Outcomes will be presented in Heerlen during Cultura Nova (August 28 - September 6) and Tilburg during Tracking Tilburg (November 28).

- -

Het Concreet verwelkomt Didianne Leusink, geselecteerd via een open call in samenwerking met Intro in Situ en De Link.

In 2026 werkt Leusink tijdens een aantal sessies in onze studio aan haar onderzoek naar luisteren en hoe geluid ontstaat in interactie met materialen en lichamen. Haar glasgeblazen platen, met luchtbellen, kleine vervormingen en onregelmatige groeven, zorgen voor onverwachte klanken en laten zien hoe het materiaal zelf een rol speelt in het geluid.

Bij Het Concreet onderzoekt ze hoe deze platen kunnen samenwerken met tape en andere analoge systemen. Niet als instrumenten die je helemaal kunt beheersen, maar als materialen die hun eigen karakter en weerstand laten horen. Door opnemen, live bewerken en experimenteren ontstaat een uniek klankonderzoek.

De resultaten zijn te horen in Maastricht tijdens Cultura Nova (28 augustus – 6 september) en in Tilburg tijdens Tracking Tilburg (28 november).

Het Concreet welcomes Didianne Leusink, selected through an open call in collaboration with Intro in Situ and De Link.

In 2026, Leusink will work in the studio across a series of sessions, developing her ongoing research into listening as a relational condition—emerging through contact between bodies, materials, and temporalities. Her glass-blown records, marked by bubbles, warping, and irregular grooves, displace the logic of playback and foreground the sonic agency of matter itself.

At Het Concreet, these records enter into dialogue with tape and other analog systems. Not as instruments to be controlled, but as sites of resistance, inscription, and co-articulation. Through slow processes of recording and live manipulation, the work unfolds as an inquiry into how sound is produced across material thresholds.

Outcomes will be presented in Heerlen during Cultura Nova (August 28 - September 6) and Tilburg during Tracking Tilburg (November 28).

- -

Het Concreet verwelkomt Didianne Leusink, geselecteerd via een open call in samenwerking met Intro in Situ en De Link.

In 2026 werkt Leusink tijdens een aantal sessies in onze studio aan haar onderzoek naar luisteren en hoe geluid ontstaat in interactie met materialen en lichamen. Haar glasgeblazen platen, met luchtbellen, kleine vervormingen en onregelmatige groeven, zorgen voor onverwachte klanken en laten zien hoe het materiaal zelf een rol speelt in het geluid.

Bij Het Concreet onderzoekt ze hoe deze platen kunnen samenwerken met tape en andere analoge systemen. Niet als instrumenten die je helemaal kunt beheersen, maar als materialen die hun eigen karakter en weerstand laten horen. Door opnemen, live bewerken en experimenteren ontstaat een uniek klankonderzoek.

De resultaten zijn te horen in Maastricht tijdens Cultura Nova (28 augustus – 6 september) en in Tilburg tijdens Tracking Tilburg (28 november).

Join us this Thursday for a listening session with Piet-Jan van Rossum, who joined us in this video to explore the sonic structures of glass workshop Hagemeier, located in an abandoned church in Tilburg. Thursday night, we will listen to a selection of Piet-Jans tape works, a body of work full of surprises and affrontations 🖤

〰️ Doors 19.30h
〰️ Start 20.00h
〰️ Free entrance
〰️ DM to reserve a seat

=== video via link in bio ===

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️

Tape / sound / world
shapes
World / sound / tape

For three days, students from KASK and the Conservatory dove into the magic of magnetic tape as an instrument. Cutting, splicing, shaping — sound became tangible, playable, alive.
From experimenting with glue and magnetite to create our own tape, to the longest loop and a self-built radio station: all DIY, all collaborative, all without computers.

Thanks to @hetconcreet & everyone who joined the project ⚡️