and his


The electro-acoustic instrument, self-developed by Jürg Bariletti alias"BariTon" is an experimental one-man orchestra constructed from disposable objects that are made to vibrate with knittingneedles, bows, feathers and all kinds of special tools. The result is an essence of all previous sound installations during of his activities as a theater-musician and workshop leader for self-made instruments, where an ecological background always played a part.
The whole thing is compressed in a suitcase and mounted on a cargo bike, which is also acoustically included. The variety of sounds ranges from engine noises and industrial noise to natural sounds such as birdschirping and water- splashing. The idea is to tell an acoustic story, a sound and ear experience to which one can get involved and surrender oneself to this spontaneous and improvised world of sound.
The name "Acoustic-Lab.Top-Mobile", where "Lab."stands for laboratory, resulted from the idea to create a counterpart to laptop musicians, who mostly sit bored with a cup of coffee at the table to press a button every now and then, through which electronically and artificially generated sounds are played, which are not comprehensible in their origin.

"I wanted to develop an equally interesting sound-world with this music-suitcase, which, however, can only be tickled out of acoustic objects, and who can be amplified by integrated pickups (piezos) and supplemented with a reverb effect".
The sounds that emerge from this are strongly reminiscent of electronically produced sounds, which then end together in a loop via a self-built mixer, so all the stoff can be interwoven and overlapped. In addition, the instrument is continuously supplemented and expanded, in that found-objects can be immediately clamped into various platforms provided for this purpose and played. With magnet-equipped piezos, the sound case can also weave in any metal- objects and even be connected to prepared grand pianos or other instruments.

The result was an experimental one-man orchestra, which spontaneously adapts to a wide variety of uses, be it for theater music, silent film scoring, interplay with other musicians or, above all, as a experimental electroakoustic street music performance, adapting to given sound-spaces, environmental noise and playing situations.