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 (2003-04).

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 industry.
All his works are realized in MaxMSP, superCollider and Csound development environment.

AMPANG

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.

dino.bramanti@tiscali.it