signal processing

digital audio neutral network (2019)

Trying to come up with a neural network specifically suitable for digital audio I managed to devise a fully connected graph that allows direct translation of audio signal processing schemes into this neural network.

rhythmic derrangement (2014)

Having spent a great deal of time manually transforming music into more complex rhythmical schemes, it appeared that this process could be automated. Using Max for Live environment a technique was developed for rhythmical derangement and cross-mixing that yielded many pieces found in the music section. Here is a link to the published paper.

harmonic stability of soft cliping (2012)

Experimenting with different soft clipping algorithms it became clear that they behave differently based on the input amplitude. Driving the algorithms with analytic signals with increasing amplitude, it becam apparent that certain algorithms produce unstable harmonics. Details on this finding and the metric set up by Sean Enderby can be found here,

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

eight channel diffusion software (2008)

Commissioned by Hello Digital, a real time diffusion software was developed. Eight microphone signals were diffused over 56 loudspeakers using 32 faders. It was used for the performance of the Birmingham Improvisers Orchestra at the Millennium Point.

recursive granulation trees (2007)

Commissioned by David Hindmarch, a modular software for granulation and spatialisation fusing eight audio channels was developed. Coded in SuperCollider and without any GUI, it allows a composer to create infinite recursive trees of sound processing modules. It automatically maps all the controls to an interface with 64 knobs that can be queried for identity, and uses the native OSX speech engine to provide verbal feedback to the user. It also allows for custom microtonal tuning of MIDI keyboards that can be used to trigger processes.

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.