Transit Map Vol.1
Upon re-examination of this map, I understood why my original idea for Brisbane didn’t work. The green line was just too long, and if I approached it the same way I did San Francisco and Copenhagen, it would end up with long stretches of a single instrument, which I wanted to avoid. A new approach was needed, so for Brisbane I decided the trains should travel much quicker, and go back and forth over and over. Layering the repeating lines over one another would weave together a soundscape, a result greater than the sum of its parts.
You can hear the lines going back and forth in the piece itself, simply by the use of panning. Each line travels from the left to the right and back again each time it travel its path from north to south. Sometimes the lines would end up in sync, but most often they would not, which is more similar to how a train network would actually run. The compositional elements are even simpler. Each line has two composed cells, and which cell is played changes at every station. To add a bit more depth, the cells themselves are played in reverse when heading from south to north. (This is unlike the rest of the pieces in this volume, where traveling the opposite direction on a line simply means cells are played normally in a reverse order.) Delay effects are heavily used here as well, to make the lines bind together a bit more.
Using a modified version of this technique is how I expect to conduct a lot of future transit maps. Since the lines are under no obligation to align at any time, this can be used for more complicated maps such as London, Berlin and Tokyo. All of which I hope to do at some point in the future.