From Tijuana, Mexico, Braulio Lam induces us to a cinematic experience through of the color temperatures of light, and explore the plastic power of sound by molding strings, through the dilation and reverberation of their guitars, a ukulele and a zither looking for the synergy between light waves and sound waves fluctuating between frequencies and temperatures. Born in 1992, Braulio has been a member of different musical projects in the local Tijuana scene, including rock, jazz and electronics. His production method is to combine guitar loops, synthesis, vocal recording, and live sound processing.
Starting the quarantine I decided to experiment with a different working method, other forms of recording and execution. I can personally say that it was a very creative month. The workflow was more intuitive compared to my previous jobs.
I tried to use as little equipment as possible, I tried to be practical when recording each the instrument. For each idea recorded, I changed the instrumentation, effects, and the order of the foregoing. I can say that it has been the most organic work, to put it in a way, used more acoustic instruments. Using in turn different microphonic techniques.
I experimented with electric, nylon acoustic, and electro-acoustic guitars. I used by first time a Ukulele using a contact microphone. In the same way I used a Kalimba and a magic harp (Citara Colombina) processed by effects within a compounder
The project is based on color temperature, which is measured by degrees Kelvin. I decided to name each topic with a different degree, going from the warmest light, incandescent and tungsten (2700K), cooler temperature (7000K-10000K) daylight.
Being in my studio / room, I recorded the material at different times of the day and found myself account that the light of the morning, noon and night; It was something that inspired me a lot, no I could explain it in written words. I can only describe the last rays of light that they enter through the window, generating a symmetrical contrast between a soft shadow and light.
Finally, it is worth mentioning that I gave myself the task of analyzing cinema during the curentena / pandemic. Analyze the cinematography of Sven Nykvist, Ingmar’s cinematographer Bergman Vadim Yusov who worked with Andrei Tarkovsky, Slawomir Idziak cinematographer by Krzysztof Kieslowski; Gabriel Figueroa and Emmanuel Lubezki. to mention a few, in Definitive directly influenced “Balance de Blancos” (White Balance). My obsession with cinematography, the use of cameras, lenses, composition and lighting. Were these the other part that inspired me to do this work.
Instrumentation:
Electric guitars, guitar effects, electro acoustic guitar, nylon guitar, Ukulele, Kalimba, Magic Harp (Columbian Zither), OP-1, Casio SA-2, Roland RE-201,
12-channel mixer, Zoom H4n, tape loops (cassettes), microphones (condenser, dynamic and contact), processing of voices and sound objects.
Tracklist
- 2700K (Incandescent)
- 3200K (Tungsten)
- 4000K (Fluorescent)
- 5200K (Day)
- 6000K (Cloudy)
- 7000K (Shadow)
- 10000K (Blue)
Photographs by Gabriela C. Walther
Cover art by Rossana Uribe Rodriguez
