When I first met Balandino I had been playing the electric harp for twelve years, making looped pieces using effects, but it didn’t feel real. Compared to the responsiveness and varied timbres of the acoustic harp, I was severely limited with my basic set up. I wanted to create relevant music to express myself and something of the world today and I had a dream of being like Björk; collaborating with sound designers and creating an other-worldly amplified show with emotional impact. Until I tried MyoSpat, that concept could not have been further away. MyoSpat has transformed my experience of playing the electric harp. I was trapped in a solitary world of rigid loops and twiddling dials on pedals, whereas now I can move freely, incorporating sign language and spoken word whilst playing the harp. I am hooked on HarpCI and want to write a whole show using it: what I’m capable of musically and expressively is finally converging with what I’m actually able to achieve! Working with Balandino has given me a direct means of communicating with the audience through a more physical performance style and the use of multiple effects and lights, intrinsically linked with the musical creation.

Eleanor Turner Principal Harp Tutor at Birmingham Conservatoire

His seriousness and his commitment, his need for in-depth analysis allow him dealing with demanding tasks with dynamism and enthusiasm and to ride out possible difficulties.

His loyalty, punctuality and his plain attitude endear him to people and allow him creating a serene and harmonic climate in a work context, even in a team.
His professional motivations, his ability to adapt even to critical conditions also to its human and relational qualities allow him working efficaciously, achieving the set goals. His passion for research and his determination are his main strengths and represent an asset for the employer. The collaborations with CRM were always very satisfying and productive.

Laura Bianchini Director at Centro Ricerche Musicali di Roma CRM

I have known Balandino for five years, as a student and as a collaborator in sound design at CRM Centro Ricerche Musicali (Center for Musical Research).
Balandino has the abilities to create, both in artistic and technological fields, original solutions. I appreciated his capacities to work in equip and his ability in organising complex duties.He his honest and generous with his companions and ever available to help them. He is obstinate when it has to finish work.
He collaborated to the realisation of interactive adaptive works of art which combine music to sculpture to sound diffusion technologies as well as interactive performance with augmented instruments (Feed-drum).Consequently he already knows the aesthetical as well as the technical questions related to the interactive performance.

Michelangelo Lupone Composer at Centro Ricerche Musical di Roma

Thalmic Labs Thalmic Labs


JUCE Award

The JUCE Award is a contest open to all The JUCE software users with a valid JUCE software license, who have created an original application or plugin using JUCE (either commercial or open-source).

Music Bricks

MusicBricks is an Innovation Action funded by the European Commission (H2020-ICT-2014-1 Project ID 644871) and coordinated by SIGMA ORIONIS SA (France). MusicBricks will last 18 months starting the beginning 2015 and the other partner entities involved are: Here my talk at MTFScandi.

icad 15

Selected for Student ThinkThank at the 21st International Conference on Auditory Display (ICAD15).

Link to the proceedings.

Research Bursary

Full-time Research Bursary as a doctoral research student at Birmingham City University.

Balandino's research, conducted at Integra Lab, is focused on live sound spatialisation and gestural control.
Gestural controllers are devices that translate human body movement into data such as positional information, acceleration and rotation.
This data can be mapped in real-time to audio processing parameters in interactive audio software.
The ultimate goal of this project concerns ways in which gestural data can be mapped to spatialisation parameters, such that the results are musically meaningful to both performer and audience.

This research project is currently supervised by Lamberto Coccioli Jason Hockman and James Dooley.