Studio Will Dutta is the creative everything of Will Dutta: a parade of artistic invention, playback and research.

We have a restless inventiveness for the how, why and way we make sound. We create imaginative situations for playback where place and its absence before and now meet and our original thinking advances the field. We are recently anchored to East Kent.

Since starting in 2007, we have presented over 250 performances, commissioned radical new work and played a vital role in establishing the independent classical scene in the UK.

Striking projects include Gabriel Prokofiev’s Concerto for Turntables and Orchestra (2006) — this now iconic work has received over seventy performances worldwide since we gave the premiere at Scala in London, including televised broadcasts at the BBC Proms in 2011 and 2016, and two award-winning albums on Nonclassical and Signum Classics; Tim Exile’s Bardo EP for Flow Machine and Orchestra; and the concert production of Nick Lloyd-Webber and James D. Reid’s musical, The Little Prince (2016), which premiered at the Abu Dhabi Festival with award-winning actor Hugh Grant.

Will Dutta standind next to blue back drop
Man on microphone pointing at the crowd
A group of singers holding hymn sheet
DJ playing in front of a crowd
Close up of DJ playing his decks
  1. bloom LIVE, ICA by Michael R Williams, 2017 © Michael R Williams
  2. Reeps One, Tiuna el Fuerte by British Council, 2013 © British Council
  3. Songs for a Better Future by Matei Bejenaru, 2010 © Matei Bejenaru
  4. Tim Exile, Village Underground by Howard Melnyczuk, 2013 © Howard Melnyczuk
  5. DJ Yoda and Heritage Orchestra by Dan Stevens, 2007 © Dan Stevens
  6. Late at Tate by PRS Foundation, 2015 © PRS Foundation
  7. Blank Canvas, Village Underground by Howard Melnyczuk, 2013 © Howard Melnyczuk
  8. The Little Prince by Studio Will Dutta, 2016 © Studio Will Dutta
  9. The 20/19 Project by Lemonade Pictures, 2019 © Lemonade Pictures
  10. The Little Prince by Studio Will Dutta, 2016 © Studio Will Dutta
Musicians playing to a crowd
Pianist and Violinist playing together

Our credits include: London Winter Concert (Southbank Centre, 2019), The 20/19 Project (Turner Contemporary, 2019), bloom (UK Album Tour, 2017), Made in Transition (Tate Britain, 2014), Music and Money (Mansion House, 2012), Four: Zero (De La Warr Pavilion, 2011–12), Notation and Interpretation (ICA, 2011), Songs for a Better Future (Tate Modern/Drawing Room, 2010), Beyond Scale (Tate Britain, 2009), Blank Canvas (Village Underground, 2007–2013).

Women playing the drums and flinging her hair around
Lady in white dress singing on stage with an orchestra all around her
Hugh Grant with a microphone

bloom is a studio album project by Will Dutta. Launched in October 2017, the album heralded a new approach to the format: many-shaped, open-ended and evolving.

The beating heart of bloom is the record that features collaborations with electronic legends Plaid, Friendly Fires frontman Ed Macfarlane and composer Max de Wardener. Out of this comes a live show devised by the award-winning creative agency Treatment Studio, and described by audiences as ‘hypnotic’, ‘compelling’ and ‘engulfing’.

Explore the essential ideas, research and context as the work grows at

Interact. Remix. And listen again.

Bloom download thumbnail

Download the digital booklet here


bloom is supported by

Three of the most performed viola sonatas in the repertoire were created in the same year, 1919.

To celebrate the centennial, violist Anne Leilehua Lanzilotti initiated The 20/19 Project to support the creation of new viola sonatas by Andrew Norman, Anna Thorvaldsdottir, and Scott Wollschleger. We presented the UK premieres of these persuasive and individual new works at Turner Contemporary in Margate on 28 November 2019.

In curating the public programme around this special event, we asked composers, filmmakers and contributors to consider the following question: What does the present moment with all its fragmentation, confusion and constriction, look/sound like when seen/heard from above?

The resulting artistic creation stretches across media and time—from new essays in our limited edition 32-page monograph to the moving trio of audio-visual preludes, Three Moments (2019), by composer Ana Quiroga and filmmaker Pedro Maia, that use archive film and field recordings of East Kent.

Our unique interpretation of The 20/19 Project reaches its climax in the concert presentation that features intimate playback and outstanding performance by violist Rosalind Ventris and pianist Will Dutta.

One year later and the world finds itself in extraordinary times. Time Stands Still (2020) is the striking coda to The 20/19 Project. Ana and Pedro combine forces again to render the myriad impressions the mind receives on an extraordinary day in another extraordinary year.

The 2019 Project download thumbnail

Download the digital booklet here

The 20/19 Project is supported by

Westgate Hall

Time Stands Still

The 20/19 Project Trailer (2019)
Lost Anthems by Scott Wollschleger (2019)

What connects decadence, the social industry and big data together?

We are preoccupied with absolute experience, as played out on social industry platforms every day. Our excess, expressed in vast outpourings of data, invites the question of whether we have arrived at a new decadence.

pleasure gardens is our most ambitious production to date and one that weaves together a number of recurring themes in our work. We have completed the first phase of research and development. This collection of extraordinary samples—a multimedia storyboard of tests, models, text and rendered visual and sonic experiments—forms part of our map for the delivery of this ambitious new production.

Scene 2Reflection

The curator of an exhibition discusses an assemblage of work by the artist, Dan Fern. In these experiments, the exterior gradually becomes interior. The scene moves towards a transshifted earthquake of activity, leading into the world of flow—now viscous now torrential.

The following tests are designed to be listened to wearing headphones.

Study 1

Study 2

Study 3

Five studies in procedural time distortion, spatial convolution and non-segmental interlacing for voice.

Mark Fell

MF: ‘Will asked me to consider a section that involved taking the audience from a familiar setting (i.e. a curator’s commentary) to a much more unfamiliar (as yet undefined) space. But rather than using familiar musical devices or editing techniques that signify unfamiliarity I decided to focus on the voice itself.

Next, I worked with convolution reverb techniques to add a spatial context to the sounds, but rather than using only “real” impulses, I explored physical modelling techniques to synthesize impulses - I found these gave the voice a sort of claustrophobic kind of resonance.

Finally, I used procedural systems for reordering the onset, middle and end of sounds, their layering and narrative distortion. These combined processes resulted in five separate studies.’

Study 4

Study 5

Scene 4Encounter

The screen is our threshold between meatspace and virtual. As our story unfolds on stage, our characters’ behaviours are mediated, dominated and consumed by it…projected, represented and reflected in it. The interplay between live performer and real-time and audio responsive VFX is explored in this film.

Beauty Still by Will Dutta feat. Plaid

Scene 5Consummation

a pouring allness poured


The garden is embodiment and symbol of our contemporary information society: the artificial preserve for digital capture and storage. It substantialises something abstract—the repository of the projected self.

This digital archive is uniquely rhizomatic: discreet and continuous data types and their supporting hardware are not centralised.

We have made worlds. We are blending worlds. What will it mean to lose the ability to distinguish between them?

Photogrammetry and Point Cloud Tests

The Curating Composer is a workflow, a teaching resource, a research project, designed to help you learn something new and move you to do it.

For music creators and recreators, the contemporary contexts of the Covid-19 pandemic and Black Lives Matter protests necessitate a radical reappraisal of who gets to make culture and mediate cultural production. In just 20 years rapid technological change has shattered professional infrastructure and at the same time we are now facing up to the astonishing scale of digital culture.

The Curating Composer will see you develop your aesthetic leadership and entrepreneurial skills as you contribute towards a new manual for the self-producing artist.

To register your interest in this new programme please subscribe to our newsletter. Read the first cut of chapter one below.

The Curating Composer research cover download thumbnail

Download the research paper here

In association with