Jam Hall
A music hall created in the jungle for Lampu, Bali's first burner gathering. Inside, an open ensemble improvised through a 32-speaker Bisonic field — music made once, in the moment, and never repeated.
- Brief
Create a live music space for Lampu — Bali's first burner gathering — where improvised performance could be composed as both music and space.
- Approach
Build an open instrument park around a 32-speaker Bisonic field: a 24-speaker ring, an eight-speaker centre, and two sound engineers shaping the performance in parallel.
- Outcome
A continuously evolving collaboration led by the invited neoclassical ensemble No Musician and joined by selected guest performers. The music was born inside Jam Hall and never repeated.
- Challenges
Bring synthesizers, acoustic drums, keys, brass, strings, microphones and a changing ensemble into a single spatial mix without flattening its spontaneity.
- Result
The response made Jam Hall the beginning of Clear Visionary's work with live spatial sound — a technology that brings listeners inside the performance rather than placing it in front of them.
Jam Hall appeared in the middle of the jungle at Lampu, Bali's first burner gathering. It was conceived as a music park rather than a conventional stage: a field of synthesizers, acoustic drums, keyboards, microphones, brass and strings, open to a living ensemble.
I · Music that existed only once
The invited neoclassical ensemble No Musician formed the core of the performance. Other musicians joined through a curated open call, connecting their instruments to the shared system and composing together in real time.
There was no fixed set to reproduce. Each combination of performers changed the music; every passage was born inside Jam Hall and disappeared as soon as it had been played.
II · A 32-speaker living field
Jam Hall was our first full-scale test of Bisonic live sound: 24 speakers formed a ring around the listeners, with an eight-speaker cluster at the centre. The result was not simply louder or wider. Sound could move, gather, split and pass through the room as part of the composition.
Two sound engineers worked simultaneously. One balanced every instrument and performer; the Bisonic engineer controlled their individual channels in real time, creating spatial effects that drew listeners deeper into the live music.
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