floating plate reverb/cymbal (2019)


aloe vera passive panning (2018)


recursive soundcard testing (2016)


rhythmic derrangement (2014)

http://eprints.uwe.ac.uk/26943/ blabla

harmonic stability of soft cliping (2014)


differential inversion subharmonic non-linearity (2010)

Octave halving seemed like an exciting challenge with good musical potential. Sketching around a sinewave with a pen allowed me to conceptualise an inversion algorithm that keeps a continuous gradient by oeprating on the differential. The details are published through AES and the SuperCollider code is here

zero-padding challenge (2009)

Having doubts about the theoretical stance that zero-padding will not improve the capacity of FFT to resolve partials I coded an example in SuperCollider showing two sufficiently close sinusoids to be separable only using zero-padding. Julius Smith claims that this does not contradict the theory, however it remains to be demonstrated how this example could work without zero-padding.

sonic quiz (2004)

Inspired by the complexity of psychoacoustics an experimental setting was explored to reflect on the primacy of different acoustic parameters.

recursive geometrical synthesis (2002)

Having internalised textbook synthesis I programmed a framework for recursive geometrical synthesis in SuperCollider. Each method name begins with lowercase letters indicating the inputs and ends with the indication of outputs. Class R contains methods that yield arrays while F class produces functions. The interest lies in constructing growth and limitation procedures in a recursion such that a simple envelope signal can grow into a chaotic occurence in both timbre and rhythm. Here you can find the code for this audio example.

warm sound (2000)

Rather difficult to reproduce without the needed setup, nevertheless a remarkable early invention worth documenting, is the warm sound. Two long strings were stretched to yield around 4 ohm DC resistance such that AC currents can be driven with audio amplifiers. Placed in a permanent magnetic field these strings faintly reproduce the audio signal they receive. Stronger currents induce heat and placement of the strings in a pipe with a hole makes that hole the origin of warm sound. It can be argued that there is the heat waves are modulated by the acoustic signal. The sensation for the ear resembles gentle earwax melting.