The confrontation between Man and Machine is at the heart of this project Machina Humana. He poses the question of who is really in control, Man or Machine. The work includes sound material recorded at the heart of the industries in the Alps. David Hudry chooses to impart a musical dimension to the banal sounds of this factory environment and to present these noises as musical objects often blending them with the sounds produced by the musicians. The recorded sounds are used in a wide range of ways: from very short impacts to long atmospheric sound tracks. The shortest sounds are sampled in order to obtain rhythmic control and to compose new, unreal machines sound sequences stemming from the composer’s imagination. The longest sound track provides a sound picture of the activity in selected factories. These long sound sequences are accompanied by instrumental interventions sometimes also processed electronically.
The instrumental writing includes many different extended technics from scratching sounds in the strings to multiphonics in the winds, in order to create varying relationships between the instrumental material and the sounds recorded from the factories.
A drum set is used to direct the listener’s attention to the machines pulsations also present in the instrumental part. He also uses many rhythmic patterns transcribed from what he heard during his recording session in the factories. This rhythmic and sonorous approach that he has been experimenting with since The Forgotten City translates into a new artistic necessity to give rhythm a preponderant dimension, without forgetting the primordial work given to the melody and the harmony that accompanied him since the beginning of his career as a composer.
With the help of the computer program Max MSP, different sound processes are applied to certain instruments in order to blend with the industrial sound material.