Technologies

Resonances and Responses

The idea of resonances and responses as a fundamental compositional principle is found in many of my compositions. I have used it in instrumental pieces both with and without electronics, in theatre contexts, in conceptual works and in intertextual and intermusical referential structures. In Terpsichord, a piece for percussion and pre-recorded sounds, the resonances from the acoustic instruments form sonic bridges to the pre-recorded electronic sounds, that, in turn, prolong the resonances, re-shaping them into new sonic gestures. A dialogue of actions and reactions is created that drives the trajectory of the music.

Resonances and Responses

Reinventing Harmony in Splintered Echoes (2014)

This paper discusses the new harmonic possibilities enabled through the implementation of Sethares’ theory of the dissonance curve in MAX and its use in a live electronic composition Splintered Echoes with Monty Adkins (composer), Jonny Axelsson (composer and percussionist) and Adrian Gierakowski (programmer).

Reinventing Harmony in Splintered Echoes (2014)

Patterns in Radical Spectra

This paper contextualises my creative practice produced over the past 20 years and discuss how some of the themes arising from this work relate to some of my contemporaries and wider musical and cultural thinking. These works have little or no percussive content yet are still loosely defined as, or considered to be, ‘post-techno’ (I discuss this term below). Here I describe these works, consider my relationships to them, and reflect upon my responses to those works – leading to the installation ‘The Moment of Impact’ (exhibited as part of the Beyond Pythagoras Symposium, March 2014).

Patterns in Radical Spectra

Strata Sequence: From Musical Rocks to Palaeo-Soundscapes

Strata Sequence is a body of work comprising a range of creative outputs, including compositions and installations. The work represents a series of collaborations with museums and festivals related by the theme of geology.

Strata Sequence: From Musical Rocks to Palaeo-Soundscapes

The Harmonic Sequencer: Mapping the Harmonic Series to a Sequencer

This paper discusses a software tool created by the author in MAX. I have created a sequencer that mimics (in reverse) the relationship between the harmonic series and the equal temperament tuning in terms of temporal timing. I will discuss the theory underpinning the software and its implementation.

The Harmonic Sequencer: Mapping the Harmonic Series to a Sequencer

An alternative approach to 3D audio recording and reproduction

The following paper provides an overview of an alternative method of recording 3D sound scenes using several separate SD card microphones as opposed to using single multi capsule ambisonic or surround sound microphones. Instructions are provided on how to set the microphones up, appropriate directivity and positioning, and speaker setup for reproduction.

An alternative approach to 3D audio recording and reproduction

Strategies for spatial music performance: the practicalities and aesthetics of responsive systems design

This article will explore practical and aesthetic questions concerning spatial music performance by interrogating new developments within an emerging hyperinstrumental practice. The performance system is based on an electric guitar with individuated audio outputs per string and multichannel loudspeaker array. A series of spatial music mapping strategies will explore in-kind relationships between a formal melodic syntax model and an ecological flocking simulator, exploiting broader notions of embodiment underpinning the metaphorical basis for the experience and understanding of musical structure. 

Strategies for spatial music performance: the practicalities and aesthetics of responsive systems design

Exploded sounds: spatialised partials in two recent multi-channel installations

I discuss two recent sound installations that both explore a spectral sound diffusion technique based on partial tracking that allows individual partials of a sampled sound to occupy individual locations in space. The two installations, The Exploded Sound (60 channels) and Significant Birds (12 channels), use similar techniques and modes of presentation to different ends.

Exploded sounds: spatialised partials in two recent multi-channel installations

Multichannel sound and spatial sound creation at Sporobole: A short account of live performance, studio design, outdoor multichannel audio, and visiting artists

The recent history of multichannel audio at Sporobole, an artist-run centre located in Sherbrooke, Canada, is discussed based on a multidisciplinary exercise. The underlying working axes are presented, from the experience of hosting an experimental rock band in an artistic, electroacoustic, and multichannel context, to the centre’s development, which includes a multichannel sound studio in its recently renovated building. 

Multichannel sound and spatial sound creation at Sporobole: A short account of live performance, studio design, outdoor multichannel audio, and visiting artists

Audium – sound-sculptured space

Audium has established a series of ideas, expanding the layers of controlled sound in space and evolving a paradigm for positioning and listening. Additionally, it has taken a new architectural approach to the performance-space, with a potential for flexibility through a myriad of environmental combinations.

Audium – sound-sculptured space

Sound and image relations: a history of convergence and divergence

This paper examines the topic of sound-image relations in its evolution towards the contemporary context of digital computational audiovisuality and its interactive forms. It addresses the multiplicity of sound and image relations and their different conceptions, and then focuses on aesthetic artefacts that propose interactive experiences articulated through images and sounds. 

Sound and image relations: a history of convergence and divergence