Levitation Delay (2018) - Sound Processing
This was an experiment with different audio processing to create a wash of sound from an existing song. The work seeks to push the limits of audio processing to create an organic body of sound from existing work. I used Beach House's song Levitation from their album Depression Cherry (with permission).
This work was later implemented into my composition, a meditation on turrell.
rush (2016) - Experimental Sound Processing
Use of a single recording of a drinking glass to create an organic, dense texture through use of simple audio processing tools: pitch shift, time compression/expansion, and reverberation.
Holocene Shadow (2018) - Sound Processing
For this experiment in sound processing, I sought to illuminate the lush texture of Bon Iver's song "Holocene" from their self-titled album. This is a simple experiment that lead to further research.
Paganini Revisited (2018) - Source Study
In an attempt to remember and challenge the past, I used a recording of Paganini's eighth caprice for violin as source material for a new work.
resonant music (2017) - Musique Concrete Etude
This work is a study in musiqe concrete, or music that is composed from recorded sound. I was mainly focused on developing strong technique to abstract the aural image of ordinary objects I had recorded. I was largely interested in transforming simple source recordings to create effective musical gestures that explore perceived space/environment in the stereo field.
bright music (2017) - Sequencing Etude
This is a multi-leveled etude in digital synthesis . The first step in this project was creating custom voices. I then experimented with MIDI-sequencing to create a musical language that was both lyrical and gestural. The work was recorded using analog tape, with Digital Performer controlling a Yamaha DX11 and two T81Z rack units.
for use with James Turrell's Twilight Epiphany Skyspace at Rice University.
This utility is designed for both live control and offline generative work for artists working in the Skyspace. The main goal of the patch is to be a generative tool for artists developing custom lighting sequences for their work. Once a device running Max is connected to the lighting system in the Skyspace, artists are able to control the embedded lighting systems of the Skyspace in real-time.
OVERVIEW OF FEATURES
| Users can use the Max interface or can attach a MIDI controller (in the original utility, a nanoKONTROL2 was used) to control the eight sliders used for RGBW values.
| The patch translates MIDI slider values to lighting intensity values so all color swatches can be recorded and programmed with ease by both artists and programmers.
| A preset box is provided to easily recall recorded cues from previous sessions.
FOR STUDIO WORK
The color swatches in the center of the patch provide a digital preview of your color swatches.
These are general approximations of the lighting and should be treated as such perceived color can vary based on environmental and experiential conditions (weather, external lighting sources, general vision, etc.).
Presets are sequentially stored starting from 1 into the preset box. by using the "store lighting to preset (auto count)" button.
This allows users to quickly save swatches sequentially to the preset menu. The number box above the preset menu displays the current preset menu step for reference while recording and recalling cue numbers.
Overwriting cues can be accomplished through recalling any cue with number/button box to the right of the live value box.
To overwrite any cue, input the cue number into the "recall" number box to the right of the live value box. By clicking the button next to it, you have successfully recalled that cue into writing mode. The next time you select "store lighting to preset (auto count)", the present color swatch will be recorded to that box. This recording cannot be undone.
FOR LIVE WORK
Digital sliders can be used to change intensity levels for both LED rings of light in the Skyspace.
Optionally, a MIDI device with sliders (I used nanoKONTROL 2 with this patch) can be connected to control the digital sliders.
Clear number box allows artists to record intensity levels for later programming.
The dark background provides minimal light interference from the operating computer while generating color swatches, and imitates the neutral evening color at the Skyspace.
This patch is not authorized for distribution to anyone without the consent of Rice University's Electroacoustic Music Labs (REMLabs).
Custom Modular Synthesizer Interface for Max.
This interface is an ongoing project in Max developed through applications of the patch with my creative work. I am interested in creating an accessible, flexible digital instrument that can used in multiple applications. I am interested in its use as a generative tool in determined composition as well as a performance tool in both composed and improvised performance. It is designed in a way that allows users to attach any MIDI device (a nanoKONTROL2 is being used to test with) to control oscillators and various layers of processing. Ways of controlling the patch in both studio and live performance situations are critical in the interface design. My goal is to create a user-friendly interface for complex synthesis that is relevant, informative, and accessible in pedagogical and professional applications.
I have used and developed this tool within recent and upcoming (*) works: a meditation on turrell, soundfield (*), a very detailed account (*), a quick look up in a small room (*).
Master Control Utility for nanoKONTROL2
This utility uses my nanoKONTROL2_MAIN MIDI data routing utility to control multiple elements of a new work in development.
This specific patch is being developed for a new work with violinist Giancarlo Latta in collaboration with director Athanasia Giannetos. It combines with both Lighting Utility and a simple DSP patch developed for the YMA.Synthesizer. The work requires a robust utility that can control structured elements of the composition and be a flexible instrument for improvised performance. I created a custom Master Control patch that would allow me to control musical, sound, and lighting elements using a simple MIDI interface for the work. Through this utility, I am able to connect Max to the Turrell Skyspace and control the LED lighting, record, archive, and process live audio signal from the violin, improvise using the YMA.Synthesizer (in Max), and cue larger structural moments of the composition.