Fabian Campuzano

Abstract of the Research

The research mainly focused on the following key points:

  1. Existing works for Tuba & Live Electronics.
  2. Creation of new repertoire.
  3. Technological restoration of pieces.
  4. Miking.
You can find the existing pieces in the lists below, along with links if available.
If you need more details about the research, click here.

Existing Works for Tuba + Live Electronics

  1. The First Dream of Light. Morton Subotnick. 1980
  2. Collage 3. Kenton Bales. 1985
  3. Post-prae-ludium No. 1 per Donau. Luigi Nono. 1987 Score
  4. Still. Jonathan Harvey. 1997 Score
  5. Work for Tuba and Live Electronics. Ricardo Sezudo. 2002
  6. Animus III. Luca Francesconi. 2008
  7. Fur Tuba mit Hagel. George Katzer. 2008 Score
  8. Sonnet X. Valerio Sannicandro. 2008
  9. Death Be Not Proud. Melvyn Poore. 2008
  10. Music for Tuba and Computer. Cort Lippe. 2008 Score
  11. Wouldn't Need You. Nicholas Deyoe. 2011
  12. Si! Karlheinz Essl. 2012
  13. Hindsight. Ariane Miyasaki. 2014
  14. Perpetuum Mobile. Mark Zanter. 2014 Score
  15. Colossus. Monte Weber. 2014
  16. Breathe. Fulton Ruby. 2015 Score
  17. Alone on Repeat. Douglas McCausland. 2016

New Repertoire

  1. Particle Construct. Lauren McCall. 2024 Website
  2. O Czasie, Twe Piramidy. Philip Przybylo. 2024
  3. Seiltänzer. Cesar Vidal. 2024 Website

Own Repertoire

  1. OrangeRed Submarine
  2. Ehecatl
  3. ∞

Technological Restoration

Post-prae-ludium per Donau No. 1 by Luigi Nono.
The restauration was made with the exact instructions of the composer and notes of the tuba player using Max/MSP.

Miking

Microphone Type Possible Accomodation Possible Utility Extra Information
Dynamic.
Top of the bell.		 Located at a distance greater than 7 cm from the bell. Aiming between the bell and the center. Because it is the most tuba-like sound that the audience could hear, I recommend it for audio processing and event analysis. To obtain the best results from this type of microphone, it is advisable to be able to control the threshold by some means and even better if it is accompanied by another exclusive microphone for event detection.
Dynamic or Condenser.
Inside the mouthpiece.		 Located inside a specialized nozzle, in which a hole has been drilled (requires being done by a professional) It is recommended only for accurate detection of laudness. Use it in environments with a lot of noise.
Dynamic.
Inmersed in the bell.		 Glued to the bell with a damper (common and very effective technique in Mexican folklore music) This technique can replace the two microphones mentioned above. Some harmonics can be saturated and contaminate the accurate reading. Likewise, the timbre recorded by the microphone varies a little from what the listener perceives in a purely acoustic environment.
Contact.
Body of the tuba.		 In the metal body of the tuba, but I continue to explore other possibilities. Capture percussions and things that happen in the body of the tuba. Keep in mind that since it is a contact mic, all the movement that happens in the body of the tuba can be recorded more than the notes that are emitted from the instrument.
Dynamic.
On mute.		 Place the microphone inside the mute (requires being done by a professional) It can replace the first two microphones on the table, obtaining good isolation from external noise. It registers a different sound than a person would perceive in an acoustic room. The audience would not be able to hear the sound of the instrument without amplification.