NOW PLAYING: LIQUIDVERSE: Microcosm & Macrocosm

Rounding out the trio of short-form dome experiences launched by Cosm Studios as part of their initial slate is Ricardo Romaneiro’s LIQUIDVERSE: Microcosm & Macrocosm.

The show combines Romaneiro’s symphonic sensibilities with Liquid Light Lab’s awe-inspiring analog imagery, creating a sweep of audiovisual tones that range from the chaotic to the sweetly serene through the piece’s two acts.

We checked in with composer and creator Ricardo Romaneiro about this new experiential work which is currently playing at Cosm’s Inglewood, CA, and is set for the Dallas location, which opens later this August.

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NO PROSCENIUM: Tell us a little bit about your experience! What’s it about? What makes it immersive?

Ricardo Romaneiro: LIQUIDVERSE: Microcosm & Macrocosm is an immersive audiovisual symphony that takes the audience on a mesmerizing journey from the birth of the universe to the intricate world of microscopic life forms and beyond. This experience intertwines live liquid visuals with symphonic and electronic spatial audio to create an otherworldly atmosphere. The stunning CX Display at Cosm serves as a perfect canvas to explore the LIQUIDVERSE, enhancing the vividness and crispness of every scene. The display’s immersive quality ensures that the audience is fully enveloped in the experience, with each visual detail and motion contributing to a sense of cosmic wonder.

What makes it truly immersive is the fusion of cutting-edge electronic innovation with modern classical orchestral music, surrounding the audience in a rich, dynamic soundscape. The state-of-the-art spatial audio system ensures that every note feels as though it’s near the listener, transforming the experience into a shared ASMR adventure where cosmic sounds and delicate strings create a celestial dance. The combination of high-resolution visuals and enveloping audio creates a multisensory experience that transports audiences to the heart of creation, making them feel a profound connection to the universe.

NP: What was the inspiration for your upcoming experience?

RR: The inspiration for LIQUIDVERSE: Microcosm & Macrocosm stems from a profound fascination with the origins and dimensions of the universe and our relationship to it. The project draws from the mysteries of cosmic birth, exploring the interplay between the microcosms and macrocosms that shape our reality. I wanted to capture the essence of these cosmic forces through music and analog visuals, offering audiences an immersive experience that transports them to the heart of creation and reflection. Blending classical and electronic elements to mirror the grandeur and complexity of the universe has been a recurring theme in my work over the last decade, aiming to evoke a sense of awe and curiosity about our place in the cosmos.

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I also wanted to break the imaginary wall between stage and audience that exists in traditional concerts. When I was a student at Juilliard, I would sit in orchestra rehearsals, not in the audience but inside the orchestra. That experience was inspiring, and I always wished I could bring the audience into the center of the sound and experience it in a 360-degree, immersive way. With Cosm’s technology, I now have the tools to translate this vision and execute it in a manner where the audience will truly feel they are sitting in the middle of the orchestra, hearing it in 360 degrees and immersed in a stunning 12K+ visual journey.

NP: What do you think fans of immersive will find most interesting about this latest experience?

RR: Fans of immersive experiences will likely be captivated by the unconventional creative process of LIQUIDVERSE. Here, the music leads the way, with each scene meticulously composed in the language of sound before being translated into visuals. This inversion of the conventional order imbues the project with a unique, authentic voice, allowing the music to guide and shape the visual narrative.

Additionally, the state-of-the-art spatial audio system creates an intimate connection with the audience, making them feel as if they are standing amidst the symphonic orchestra. The analog liquid visuals, created without CGI, add a layer of craftsmanship that stands out in an age dominated by digital art. All visuals are done by hand and captured using macro lenses and high-definition, state-of-the-art cameras. At times, there can be 22 layered film footages combined, resulting in a rich, intricate visual tapestry. This meticulous process of layering and capturing visuals enhances the immersive quality, providing a truly unique and engaging experience that resonates deeply with the audience.

NP: Once you started designing and testing what did you discover about this experience that was unexpected?

RR: Visually, the challenges were significant. Achieving “dome resolution” that translated well was a major hurdle. The first tests, although filled with potential, were disappointing because the LED dome display’s vivid and crisp quality highlighted every flaw. Additionally, figuring out the motion for the liquid visuals was crucial; what might appear as slow motion on a computer screen could cause vertigo and dizziness in a large-scale format. Testing various speeds to see what worked best was essential. Each month, I flew to testing facilities to monitor and develop the progress, and with each visit, the visuals improved significantly thanks to the dedicated efforts of the team from Cosm and collaborators like Liquid Light Lab.

Musically, the challenges were equally intense. Recording the total sonic power of 118 musicians in an unconventional manner for spatial audio, involving overdubbing, multiple mic placements, and ensuring consistent play and expression, was a meticulous and time-consuming process. We spent about a month in the studio (double the time projected), with full recording days stretching from 10am to 8pm, and sometimes even until 10pm. The orchestra we recorded was the Grammy-nominated Metropolis Ensemble, conducted by Andrew Cyr (whom I have collaborated with since 2008). Collaborating with multiple Grammy-winning engineer Silas Brown for the spatial audio added an insane layer of complexity to the Pro Tools sessions, and we ran out of room in the session! Together, Andrew, Silas, and I co-produced this massive recording. The complexity of coordinating such a large ensemble and capturing the dynamic range and emotional depth of the music was an arduous task. However, the result was a rich and immersive sonic landscape that perfectly complements the visual narrative, making the effort worthwhile.

Reflecting on this journey, I realized how much this project helped me grow as an artist. Every obstacle we encountered pushed me to explore new techniques and solutions, enhancing my creative toolkit. The continuous cycle of testing and refining both the visual and auditory components taught me invaluable lessons about patience, perseverance, and the importance of attention to detail. I am incredibly proud of the results we achieved. The final product surpassed my expectations. Seeing the audience’s reactions, witnessing their awe and engagement, reaffirmed the value of our relentless efforts. This project stands as a testament to the power of vision and dedication.

The collaborative nature of this endeavor was the essential component that enabled this process to be what it is today. Working with such talented individuals like Liquid Light Lab, Andrew Cyr, Metropolis’ musicians, Silas Brown, along with the committed teams from Cosm, was an honor. Their expertise and creativity were crucial in overcoming the myriad challenges we faced. This experience underscored the fact that true innovation and excellence are rarely the result of solitary efforts; they are born from collective creativity and shared determination. The synergy of our collaboration infused every aspect of this project with a richness and depth that would have been impossible to achieve alone.

NP: What can fans who are coming to this, or thinking about coming to this, do to get into the mood of the experience?

RR: To get into the mood for LIQUIDVERSE: Microcosm & Macrocosm, fans can immerse themselves in content that explores the grandeur and mysteries of the universe: Watching documentaries like “Cosmos: A Spacetime Odyssey” or “How the Universe Works” can provide a deeper appreciation and questions for the cosmic themes explored in the project. Listening to a blend of classical symphonic / film music and electronic soundscapes, such as works by composers like Philip Glass, Max Richter, John Williams, Johann Johannsson, Brian Eno, Igor Stravinsky and Olafur Arnalds, can help set the auditory stage. If possible, go see a full orchestra performance or rehearsal to feel the power of live music and see how it will translate into Cosm’s spatial audio system.

Reading and engaging with scientific literature on cosmology and microbiology that delve into these subjects can also enhance the experience. For example, while I was trying to figure out how to represent the Big Bang in the beginning of the work, Cosm’s in house cosmologist, Martin Ratcliffe recommended a book to read that gave me a whole different perspective how to go about it, the book is called “The View from the Center of the Universe” by Joel R. Primack and Nancy Ellen Abrams. Other inspiring books such as “Before the Beginning: Our Universe & Others” by Martin J. Reese also gave me inspiration. Actually, I have a whole summer reading list of books that are inspired by each chapter, here is the link for further reading read more.

And the most important thing audiences can do to prepare for this experience is embracing a mindset of wonder, openness and curiosity. This will allow fans to fully appreciate and prepare for the transcendental journey that LIQUIDVERSE offers.

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