In this chapter, I will try to exemplify in a concrete way what I experience as being new musical parameters in my work with live electronics. These parameters are not “new” as such, but new in relation to how the voice is used in music without electronic processing. It is important when reading this to bear in mind that my work with the voice as a sound source is not purely electronic. What I am exploring, as a vocalist, is what I have called the meeting with electronic sound-processing devices and electronic sound as such, understood as the implementation of it in my music. In this implementation, the acoustic sound of the voice is an important part of the musical scenery, and it is also something that the processed sounds are always in some kind of relation to.
It has been necessary for me to try to understand and specify some of the special challenges and opportunities presented by the bare voice as a musical instrument. In light of the work by the musicologist Andreas Bergsland and others, I will reflect on how electronic processing of the voice can be interpreted as a musical play with grades of meaning and real-world-presence, and as a movement in and between so-called zones. In relation to the play with grades of meaning, I will also look at how language, words and sound are often components of my musical expression, and how I experience my own work as moving between different zones in this perspective. Further, I will look at what I consider to be important possibilities regarding sound processing and sampling techniques, and exemplify how I experience these as new musical parameters in my music.