Part one of a four-part computer-music composition. This piece is based on a verse in Psalm 42 from the Bible: "Like the deer that longs for running streams, so my soul it longs for you, O God." The purpose of this piece was to sonify the movement and liveliness of water. I used various sounds such as a flowing creek, rain, tapping on a metal pot, and vocals. The main technique used is asynchronous granular synthesis. This piece uses ambisonics and is meant to be heard in a 3D array of speakers, but can still be listened to on headphones.
Part two of a four-part computer-music composition. This piece is based on the Crucifixion and Death of Jesus Christ in John chapter 19 of the Bible, specifically focusing on the phrase "I thirst." This section of Living Water serves as a counter to the first in which there is an absence of water. Sounds used include dropping of nails, hammering nails, scratching and banging wood, scrubbing of pots and pans, and bird sounds. Main techniques include asynchronous granular synthesis and comb filters.
A short piece I composed and processed, mainly inspired my Jonty Harrison's "Klang" for its gesture components and "Empty Vessels" by Dennis Smalley. Techniques include time-segment processing, asynchronous granular synthesis, IIR comb filters, and delay lines/all-pass ring reverb. The purpose of this piece was to create an abstraction of kitchen supplies.
My first attempt at creating an etude using sound processing in SuperCollider. Techniques include time-segment processing (adjust playback rates), asynchronous granular synthesis, and IIR comb filters. The instruments used include a metal water bottle, whisk, pan, and head massager.
A three-minute piece I composed and synthesized. Main techniques included synchronous granular synthesis, additive synthesis, and frequency modulation synthesis. Influenced by Jean-Claude Risset's Mutations and Computer Suite from Music for Little Boy and Barry Truax's Riverrun and Solar Ellipse.
My first soundscape project and an exploration of Music Concrete techniques. I collected various sounds from FreeSound and created a piece in which the listener delves and transitions into different sound worlds. Composition was created using Adobe Audition and Reaper. Techniques include building a Risset bell using additive synthesis, sweeping bandpass filters, time stretching and pitch bending, delays, and reverb. Inspired by Jonty Harrison's "Unsound Objects" and Stockhausen's "Kontakte."
Some simple time-segment processing, changing playback rates of the sound of a metal bottle and whisk. Inspired by John Oswald's "Bell Speeds."