The grainny-articulated characteristics of Summira 7, its facture and dynamic profiles, made me imagine punctuation marks triggering different scenes at each new attack. This was the base of my first musique anecdotique piece Último Dia (Last Day), and happened me to fulfill an idea I’ve been having for a while of using sounds with little or no transformation processes at all and ‘tell a story’. I cut the 18 Summira 7 attacks with the aid of Composers Desktop Project (CDP), creating 18 different audio files, and re-opened them in the same software to build rhythmic patterns in different ways. The results were used in the last part of the piece. In many different moments I combined (assembled) Summira 7 files with other sounds I recorded myself - doors locks, metal closet doors, ice cubes clashing with each other - to reinforce its hard attacks (to use a schaefferian term) and make dramatic passages from one scene to another. All of those sounds, inc
