Kyle Evans created this electronically modified digeridoo.

Details below.

via yakthekyle:

I created this instrument to experiment in the combination of the organic sound qualities of a didgeridoo with the advanced signal processing capabilities of modern computer programming and sound synthesis.

This custom built didgeridoo features externally mounted modules that allow the performer to process and manipulate the sound of the instrument in real time. All control data is transmitted wirelessly via blue tooth and is controlling several audio processes created in a custom-built software environment.

TribalNeed (Riccardo Moretti) performs live at Bal Harbour (Sardegna).

The performance features a really cool location and Moretti’s unique ambient techno world improvisations.

Description:

Charlie McMahon has been a master of the didgeridoo from an early age and is one of Australia’s most acclaimed players of this instrument.

From traditional style didjs through to Seismic Face Bass and the newly launched Didjeribone (Sliding Didj). Charlie has always pushed the barriers of musical sounds, blending driving rhythms with an outback ambience.

Charlie has played on soundtracks for the films; Priscilla Queen of the Desert, Mad Max and The Bear. He has recorded and performed with Snakefinger, Janes Addiction, Def Fx, Carlos Peron, Condo Ima, Keith Urban, Midnight Oil, The Royal Philharmonic Orchestra and many others.

Formats supported include:

• Acid WAV
• Apple Loops
• Stylus RMX
• Rex2
• Reason Refill

Features:

• 600 REX2 files
• 800 Acidized WAV files
• 800 Apple Loops
• Seismic Face Bass Groove
• Wood Grooves
• Slide Grooves
• One Shots for effects and drums
• Special Combinator effects

While Enigma’s best-known work combines gregorian chant with dance electronica, and Deep Forest explores world music in an electronica context, E.S. Posthumus draws on romantic influences, like the choral work of Verdi and Orff. The use of a full choir and orchestra on some tracks lends an emotional depth to the pieces that is missing in many of these blends. Because of the eclectic influences that E.S. Posthumus draws upon, you never know what’s going to pop up in a song, or what direction that the tracks may veer off into.

The most exciting tracks on the CD are ones that combine full orchestra, choir, rock rhythm section and electronic effects. The resulting sound is huge and unexpected.

Harappa puts dance percussion and electronic effects, didgeridoo, orchestral strings and choir together, giving the music a massive cinematic scope.

Ebla has the feel of a romantic homophonic choral work, sounding at first like something from a late 19th century reqiuem. That is, until the Bonham-style rock drums and synths come in.

One of the highlights of the CD, Nara, begins with a lyrical orchestral section in waltz time, building intensity until the end of the track, where it makes a shift into more of a world music feel.

The final track, Isfahan, provides a pastoral ending to the CD. It starts with relaxed percussion and some synth drones, and then moves into choral string writing. The string work has the gentle feel of some of John Barry’s later soundtrack work. Halfway through the track, the choir joins in, building the final track to a satisfying climax before dying back down to slow percussion.

The music on Unearthed freely mixes and matches genres, with unusual skill. In a few places places, the music feels a little constrained by the fact that the orchestral writing is locked to a metronomic tempo and relatively limited dynamic range. Nevertheless, Unearthed is an enjoyable hybrid of classical and modern influences. Fans of neo-classical blends found on many modern soundtracks and in the music of groups like Enigma will find E.S.Posthumus a compelling and interesting set of genre-bending music.

Tracks:

• Antissa
• Tikal
• Harappa
• Ulaid
• Ebla
• Nara
• Cuzco
• Nineveh
• Lepcis Magna
• Menouthis
• Estremoz
• Pompeii
• Isfahan