Dino Bramanti was born in 1969 in Pietrasanta (Lucca),
Italy. His background is based on a classical humanistic
education and on mathematical and technical studies.
In 1996 took PhD in Telecommunications Engineering at
the University of Pisa in Italy, achieving a strong training
in digital signal processing, computer science and communications
networks and protocols.
During 90's he's been working as DJ in several clubs
and radio stations in the area of black music, 60's funk
and dub and started moving towards electronic sound composition,
digital signal manipulation and sample grinding.
In 2002 designs and builds, with the collaboration of
A. Borghi, "quaa|ude - a quiet interlude" installation
working as natural sound generator and real-time processor,
which has been premiered in October 2002 at "c'Arte
d'identita' " art gallery in Pietrasanta (LU).
As a Timet collaborator of has taken part in several
projects contributing with concepts, sound composition,
audio and electronics engineering.
He's collaborated to Timet's Compilatione project with
a handful of sonic pills aimed at desecrating both dance
stereotypes and classical-contemporary music forms.
Latest involvement with Timet has been with "L'Ospite
Ingrato - A Medici Obsession" sound installation
in Florence, part of "ORIZZONTI- Belvedere dell'
Arte" Art Exibition directed by A. Bonito Oliva
He is currently working on the solo project ampang,
based on real-time sound composition from custom designed
software for rhythmic, dub-influenced structures and
lines and he's carrying on bonarosa project, for laptop
based live improvisation, with fellow A. Borghi.
He' s sharing his time between digital art works and
the work as network software designer for telecommunications
All his works are realized in MaxMSP, superCollider and
Csound development environment.
ampang takes its move from the multitude of sounds which,
actively or passively populate our daylife. They are
sounds and noises captured in every time and place,
voices fragments and clutter, short excerpts from crucial
recordings and works. The only thing in common among
them is that they are short. Sound events lasting about
a second, such that their atomicity ensures that they
are no more related to the original context.
Those absolute sound snippets are the timbral starting
point for the composition. A software application, designed
and built for their continous processing, shapes them
in real time over rythmic structures. It organizes them
over time, in a semi-deterministic way, following the
conceptual and operational add/drop approach
mutuated from dub techniques.