The Room Tone Generator [RTG] is a software instrument intended to produce finely tuned, static background tones to alter the room atmosphere in a given space. In this instrument everything revolves around one center frequency [THE Frequency], the frequency of its main oscillator. This frequency gets tuned to a subjectively intriguing resonance in the space, or according to specific acoustic properties of the physical space. All other parameters and voices of the RTG, brought into play in succession, are in variable mathematical ratios to THE Frequency. That way all harmonics, partials and overtones are related, and in a specific and unique relationship to the architectural space. This allows for the creation of site-specific tonalities, which articulate and situate a given space through sound, instead of using sound as a means of representing a preexisting spatiality. For Neumann this relates to his concept of non-representational spatial sound composition.

The type of speaker used is not that important, yet it is more fun to use ones that can output a nice bass. The RTG is capable of multi-channel output, up to 8 channels. Speakers should be positioned in unusual configurations, in an odd corner, pointing at the wall, under the table, facing up from a balcony, in an alcove, below the floor board etc.

The RTG was initially developed for and with Axel Töpfer; used in various installations of his to subtly alter the atmosphere in a room. Neumann has later on, as the instrument developed, begun using it for his spatial performances and own installations. The audio example is a study, made as a present for Alexander Schneider's 43rd birthday in November 2022.

Neumann has now been working on RTG in various stages for years. His residency with Harvestworks this past year (2023) granted him the opportunity to develop a brand new version (MK2) of the RTG from the ground up. MK2 is more complex, yet also more user friendly and efficient to allow different kinds of collaborations around spatial live performance; the concept of

non-representational spatial sound. One example would be to allow sick people to make their own installation-pieces for their bedrooms.

The new version (MK2) is modular with a flexible number of instrument instances and different matrix routing. This new architecture allows for better preset management, so that the user can save and recall presets easily, instead of recording each of the multi-channel tones and then playing them back and organizing them. Neumann is now working to add a real-time sound analysis module to generate datasets (an acoustic room portrait) from a given physical space. This will give him a more complex yet immediate starting point when approaching a new space. Moreover, because chosen sites are boundless in potential, the project retains fluidity, always in a development and experimentation phase.

For Neumann’s performance, Das Schwellenstück, he created 56 tri-phonic chords, laid them onto 56 tracks and played the concert with an iPad mixer to shape the piece live by mixing between those 56 tracks. The work was commissioned by the festival Espacios Resonantes (Santiago de Chile) and as part of the festival he also gave a workshop to students. It was a few days before the performance and so the piece was ready, playable with the iPad. During the workshop, to demonstrate his compositional practice more hands-on, Neumann handed the iPad over to the students. And they really enjoyed the experience - it was hard to get the iPad back :)

This engagement sparked the idea that new iterations should be built with collaboration and exchange in mind. That the instrument would be used in workshops and projects of other more open formats, besides Neumann’s own installation and performance practice. For example, sick people, who are not able to go to concerts and galleries, could create installations for their bedrooms. Such would increase accessibility for those who want to experience physical qualities of sound that expand our perceived spatiality: to transform, fluidify, fictionalize their chosen spaces and then experience them anew through listening.

With this type of listening, where sound, listener and architecture are woven together, in service of the lived listening experience, the space is made felt. A felt space allows us to expand our listening, our mind, and our consciousness. And since otherwise often we're caught in front of all these flat screen surfaces (reading this description for example), Neumann views the practice of listening spatially as timely and important; having an instrument to further engage in and encourage this practice charges future steps in his art.

Past installations with the RTG::
Kaltes Feuer, Memphis, Linz, Austria 2024
Haus Schminke, Löbau, Germany 2023
New Work Residency, Harvestworks NYC 2023
Das Schwellenstück, Festival Espacios Resonantes, Santiago de Chile 2022
Nach Birken, Wettsteinhäusli Basel, Switzerland 2022
Für Alina, Fridman Gallery Beacon, NY 2022
Obschon der Kauz schaut, Aloïse Basel, Switzerland 2021
Die Sehnsucht Nach Dem Jetzt, Weltkunstzimmer Düsseldorf, Germany 2021
Takarazuka Art Project, Takarazuka, Japan 2017

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The Room Tone Generator [RTG] is a software instrument intended to produce finely tuned, static background tones to alter the room atmosphere in a given space. In this instrument everything revolves around one center frequency [THE Frequency], the frequency of it's main oscillator. This frequency gets tuned to a subjectively intriguing resonance in the space, or according to specific acoustic properties of the physical space. All other parameters and voices of the RTG, brought into play in following steps, are in variable mathematical ratios to THE Frequency. That way all harmonics, partials and overtones are related, and in a specific and unique relationship to the architectural space. This allows for the creation of site-specific tonalities, which are articulating and situating a given space through sound, instead of using sound as a means of representing a preexisting spatiality. For Neumann this relates to his concept of non-representational spatial sound composition. The type of speaker used is not that important, yet it is more fun to use ones that can output a nice bass. The RTG is capable of multi-channel output, up to 8 channels. Speakers should be postioned in unusual configurations, in an odd corner, pointing at the wall, under the table, facing up from a balcony, in an alove, below the floor board etc. The RTG was initially developed for and with Axel Töpfer and used in various installations of his to subtly alter the atmosphere in a room. Neumann has later on, as the instrument developed, begun using it for his spatial performances and own installations. The audio example is a study, made as a present for Alexander Schneider's 43rd birthday in November 2022. Past installations with the RTG:: Kaltes Feuer, Memphis, Linz, Austria 2024 Haus Schminke, Löbau, Germany 2023 New Work Residency, Harvestworks NYC 2023 Das Schwellenstück, Festival Espacios Resonantes, Santiago de Chile 2022 Nach Birken, Wettsteinhäusli Basel, Switzerland 2022 Für Alina, Fridman Gallery Beacon, NY 2022 Obschon der Kauz schaut, Aloïse Basel, Switzerland 2021 Die Sehnsucht Nach Dem Jetzt, Weltkunstzimmer Düsseldorf, Germany 2021   Takarazuka Art Project, Takarazuka, Japan 2017