Roland Kuit has been exploring and broadening the language of sound for over 25 years. In search of new forms of listening Kuit started to create synthetic environments of sounds in the ’90’s. Resulting in sound exhibitions in art galleries followed by publications in art magazines as l’Orbe and Avenue Magazine, Sound On Sound Magazine and WIRED. To free these sound concepts from the traditional speaker boxes Kuit began the transition of his sounds into installations. Visualizing sound. F.i. The Electroacoustic Domestic Pet and his cityscape Paris, a Centre Pompidou rebuild tubed speaker wall.
Roland Kuit started studying the flute and piano at the Royal Conservatory The Hague but very quick switched to study electronic music at the Institute of Sonology in the 80’s. With teachers as Gottfried Michael Koenig, Werner Kaegi, Stan Tempelaars and Jaap Vink. Among analogue studio techniques, Roland learned to develop programs for algorithmic composition and digital sound synthesis.
The electronic possibilities in music and sound are infinite and were the right tools for Kuit. Analogue and digital modular synthesizers and the KYMA system, a super computer for sound, are the instruments for Kuit. Sound is typically a ‘time thing’. With this system, Kuit can influence the present by events that will happen in the future. And vice versa. This is called Time Warping. And where an acoustic instrumentalist can create twenty articulations per second, the Kyma can do a thousand. Real-time analysis of sound of acoustical instruments or other sounds can be done perfectly with the computer algorithms, creating composition possibilities that are very interesting in the spectral realm.