Salon Stolz

For the music pavilion and the ‘Life Stage’ of Robert Stolz, we were allowed to design the stations in the museum with our sound design in close collaboration with the Salon Stolz team and FH Joanneum.

For the Virtual Conductor, we were guests at the Graz Opera and recorded the Graz Philharmonic with a VR camera and a complex 3D audio setup. In a VR game programmed by FH Joanneum, you stand as a conductor in front of the orchestra and can control the tempo and volume of the piece.

For the Life Stage, we also recorded a radio play about the life of Robert Stolz from the perspective of the instruments with the orchestra. Twenty-one pieces were composed for this, which we recorded, edited, and intertwined with the voice actors into an entertaining story.

lebensbühne

For additional stations, such as a sound memory game, a composing machine, or the instrument cube, we let our creativity run free to create interactive and inclusive experiences..

VR-Experience: Wunderland (2023)

Location Sound, Sound Design, 3D-Audio Mix

The new virtual reality film from Schauspielhaus Graz, “Wunderland,” written and directed by Kurdwin Ayub, premiered at the Diagonale’23. In the film, director Kurdwin Ayub takes us back to childhood by showing everyday life through the eyes of a little girl.

What does the daily life of a child sound like from their perspective in a high chair, on the floor, or between sleeping parents? Which sounds become more significant, and what sounds particularly threatening to children in a nightmare? Sound designer Eli Frauscher had a lot of fun exploring these questions and discovering new sound perspectives.

While sitting in a cave with a VR headset on and headphones with 3D sound, you experience how Mama (Maresi Riegner) and Papa (Valentin Postlmayr) take care of you. They are many things: artists, hipsters, millennials, but they are not happy.

In the modern world, a woman doesn’t always have to sacrifice her life and dreams for a child. In “Wunderland,” it’s Papa whose career is put on hold as he takes care of the child at home while Mama is successful. The child comes first. Its dreams are secondary, and conflict is inevitable. A storm rages outside, and it’s not much more peaceful inside the apartment. Love and anger alternate until everything culminates in a nightmare. In the end, Mama and Papa stay together, just like many parents stay together for too long.

“The Life of Sean DeLear” (2023, Audio Post production)

“Sean DeLear (1964-2017) was a magnificently flamboyant, exuberantly transgressive figure who enchanted the music and art underground of Los Angeles in the late 1990s and early 2000s. But with the posthumous release of his equally intimate and explicit teenage diaries from 1979 in 2022, he revealed himself as a truly groundbreaking cultural figure: I Could Not Believe It is the joyful chronicle of the experiences of a young Black, queer, and creative person finding his identity, voice, and style—decades before Barry Jenkins’ (much more subdued) film Moonlight.

The Life of Sean DeLear is a vibrantly diverse, lively documentary portrait of this irresistibly charismatic one-of-a-kind individual, designed in a celebratory yet commendably clear style by writer and director Markus Zizenbacher.” (Neil Young)

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Director Markus Zizenbacher entrusted us with the task of interweaving the archival Super-8 tapes with the current original audio from the interviews.

Interactive sound installations for FRida &freD museum


For FRida & freD we planned and designed an interactive sound experience for kids at the age of 3 to 8. Exciting things to discover were a custom song:

https://music.apple.com/de/artist/t%C3%BCftelm%C3%A4use/1186861085

The other parts of the audio installation included a 8-channel sound installation spanning a large area of the exhibition with stories about mice told only with sound effects. Duration: One hour.

The song “Tüftelmäuse” was also available at a machine with variable playback speed of the song.

FRida & freD webiste post: https://kimus.at/portfolio/die-tueftelmaeuse/
FRida & freD on Ecsite network: https://www.ecsite.eu/members/directory/frida-fred-graz-childrens-museum

“Ein selten entstaubter Teil des Gehirns” (2022)

Film Poster

Kurzspielfilm / Short Fiction, 13 min

Director Luzia Johow
Writer Luzia Johow, Zorah Berghammer
Producer Flora Mair
Director of Photography Albert Car, Stella-Joya Puelacher
Editor Melisa Krasniqi
Sound & Sound Design Lisa Maria Hollaus
Mixing Eli Frauscher (Klangkulisse)
Music Xavier Weydert
Set & Costume Design Luisa Berghammer und Hanna Wimmer
Distribution Producer Melvyn Zeyns
Cast Aila Franken, Michael Masula

Kleine Welt – ganz groß. Das Geheimnis der Wiese (2022)

Wie klingt die Welt der Insekten?

Für diese Erlebnis Österreich Doku, die sich dem magischen, verborgenen und bedrohten Leben auf den steirischen Naturwiesen widmet, hat unsere Sound Designerin Eli die Wiesenbewohner vertont.

Ausstrahlungstermine:
13.03., 16:28 Uhr auf ORF 2
11. April, 20:15 Uhr auf 3Sat

https://tv.orf.at/program/orf2/erlebnisoe420.html


REGIE: Waltraud Paschinger
KAMERA: Franz Posch
PRODUKTION: Ursula Merzeder
SCHNITT: Lukas Kogler
TONSCHNITT und GERÄUSCHE: Eli Frauscher
TONMISCHUNG: Christopher Frank

Der Bau

“Der Bau” von Franz Kafka ist eine virtuelle Reise durch das Schauspielhaus Graz – und war am Set und im Studio eine dreidimensionale Sounddesign-Spielwiese.

Premiere: 28. Mai 2021

MIT Florian Köhler
REGIE Elena Bakirova
BILDGESTALTUNG/SCHNITT Markus Zizenbacher 
AUSSTATTUNG Tanja Kramberger
DRAMATURGIE Elisabeth Tropper

schauspielhaus-graz.buehnen-graz.com/play-detail/der-bau/

„Der VR-Brille sei Dank: Die Franz-Kafka-Erzählung ‚Der Bau‘ führt als famose virtuelle Vorstellung durch das Innere des Schauspielhaus Graz – und gestattet es doch jedem Besucher, bei sich daheim zu bleiben. […] Donnernder Applaus allen Beteiligten.“ (Der Standard / www.derstandard.at, Ronald Pohl, 29.05.2021)

„Virtual-Reality-Brille sei dank, wird Florian Köhler mit Rundumblick durch Orte im Schauspielhaus begleitet, die für gewöhnlich verborgen bleiben. Versteckte Gänge, die stolze Drehbühne, unbenutzte Requisiten. Virtuell wird man zum lautlosen Eindringling in diesem Dachsbau eines Neurotikers. Die VR-Brille wird zum Verstärker des Wahns, zugleich zügelt die Ungreifbarkeit von Kafkas Sprache die Empathie. Am Ende der Regiearbeit von Elena Bakirova bleibt man alleine, das Klatschen verklingt ungehört. Näher kann man Kafkas Prosafigur nicht kommen.“ (Kleine Zeitung, Daniel Hadler, 30.05.2021)