But the possibility of connecting music with the rest of your talents using technology is there for all- and a dazzling array of electronic stompboxes, multieffects, and software may be the missing link. Not every musician can make a cave bear skeleton. “I used lots of electro-acoustic concrete sounds alongside recordings of water concretions as percussion with the natural reverb of another cave close by.” “It was a very good experience,” she says. Her forays into this UNESCO World Heritage site, home to Paleolithic figurative cave paintings around 30,000 years old, made her a perfect choice to create a soundtrack for Les génies de la Grotte Chauvet(“The Geniuses of Chauvet Cave”), Christian Tran’s 2015 film about the efforts to preserve the cave by creating a near-perfect replica a mile away that would admit visitors. It’s a privilege as only a small group of scientists is allowed to go inside the cave.” “I did cast the cave bear skeleton and because I had to be as close to the real as possible, I had the chance to visit Chauvet Cave three times. “A job I had in Lyon, besides music, was to cast bones of prehistoric animals for museums or private collectors,” she remembers. French violinist Agathe Max ended up in cave. Once you go off the beaten path of music, there’s no telling where the journey will lead. Violinists have been experimenting with everything from electrifying their instruments to finding new acoustic environments for decades, if not longer, in their search for new sounds. So we're asking you to give $5 (or whatever you can afford) right now.īy Gregory Walker | From the July-August 2021 issue of Strings magazine Hey, fellow string player! Did you know 99.9% of visitors to this site will scroll past this message without making a contribution? Many plan to pledge later, but then forget.
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