The Music of Joan Bages i Rubì

1 -How do you define your music (theories, influences, goals)

I’m composer, sound artist and pianist. My music and sound work covers the instrumental music, electroacoustic music, acousmatic music, sound-visual installations, visual music. I compose music, I perform electroacoustic music, I play piano and I also improvise music.

I think the music as an interaction between the work about sound morphologies, different approaches to write music, improvisation and technological devices (interactive Music System).

I call my music MUSIC OF CREATION: spectra morphologic composition formed by different layers of sound morphologies. All this layers works as an holophonic sound formed by diversity of morphologies.

I develop different approaches to write music:

    – Contemporary music.

    – Spectra morphologic composition

    – Sonorous Score

    – Compositions generated in real time
by an Interactive Music System

    – Graphic Scores

2 -Where do you come from musically?

My musicality comes from the sound. From the morphological characteristics of the sounds. I develop interactions between opposites morphologies.

3 -Present your new work :

« “Ib” (electroacoustic opera) ». And opera for ensemble, electronics, visuals with spatialization in 8 loudspeakers. The idea of the opera is to create a big setup but we have only 1 actor (the sound) all the resources are part of the same actor. This 1 actor (the sound) takes different forms and aspects and formats : electronic, visual, gesture, etc… The goal it’s to talk about the construction of the individuality and the contrast between the individuality and the creation of the concept of the society-collective. The conflict between me and the others.

4 -What is your ideal setup for live

I use a laptop with Max/MSP and a patch created by me : patch Sistema Musical Interactiu Holofonic ». Then i use a sound card where I connect my microphones and contact microphones ;I use different controllers to create a physical interaction between gestures and the sound result.

The Music of Vincent Laubeuf

How could you define your music? (Theories, influences, objectives)

I’m a composer who likes to approach the multiplicity of genres, expressions. Thus, I approach as much the acousmatic, that the mixed music or instrumental, the radio creation that the sound installation, the conception of live spectacle that the improvisation electroacoustique. This multiplicity is united by the same artistic project. This project is thus approached from several angles, several point of view, several types of perception: even all these disciplines work on the sound, their relation to the public proposes different perceptions (approach of different temporal, scenic presence or not, etc.)

For my influences on the musical level it’s quite broad as medieval music (more is old, better is) than extra-European music (especially Japan, is gagaku, is ritual music). In concern acousmatic music I’m influences by Denis Dufour because of his compositional rigor (he was my teacher), Pierre Henry, because it is sound quality raw and whole and especially by Luc Ferrari, Which in some way liberated the music by giving power to the sonic anecdote (while maintaining a saving distance on what music is.)

But influences are not only musical: philosophy (for example Clément Rosset and his approach to reality and fortuity), literature (for example, with the Japanese writer Yoshimura, and its precise atmospheres and strange), the cinema (Kobayashi, still a Japanese)

My objective, my artistic project, is directed more and more towards a music of observation ; attention to sound, to silence. A sound not necessarily beautiful, I do not seek hedonism, it’s not the subject, but a sound whose intrinsic richness, the relationships it weaves together created as an energy, a tention, see even a form of dramaturgy.

What is your musical origin and how you realize your musicality?

I come from classical music, I have done many years of violin (up to the age of 20 years) before devoting myself entirely to composition. The choice of creation rather than reproduction (however laudable it may be)

The fact of coming from classical music taught me the rigor of compositional work: structure, form, details (this is not the only way to make music successful, but it suits me well).
In general, before composing, I take notes, ideas, in a textual way. Depending on the theme, I read, I watch, movies, exhibitions, I walk (a lot). Once this is done, either I will try to collect sounds (outside, in the studio, my kitchen …) or I work directly with the sound banks I already own. The first stage of composition itself, I want it fast, see extremely fast, I throw the sounds like to make a sketch. Once this sketch done, I polish it, I orchestrate the sounds, I “play” the music to give the impression that there is already an interpretation: this step takes an enormous amount of time, in order to have a form both coherent and alive, felt.

Present your new work …

My last work is called « Torii, la porte du moi » “Torii, the door of the month”, it is a radio creation I produced with the composer Paul Ramage and the director Nathalie Salles for the emission Creation On Air of France Culture (a French public radio) in february 2017

We made a double travel book Japan, we shared each one part
1. Paul Ramage, Tokyo: The Infinite City (Image, Language)
2. Paul Ramage, Osaka: The New World (interiority, intimacy)
3. Paul Ramage, Kyoto: towards the center of a world (speech does not exist)
4. Paul Ramage, Tokyo: Downtown, empty center
Transition: Vincent Laubeuf, A tour to Kushiro (hokkaïdo)
5. Vincent Laubeuf, Tokyo: a changing world
6. Vincent Laubeuf, Osaka: The Japanese are not all in costume!
7. Vincent Laubeuf, Kyoto: Ceremonies everywhere!
8. Vincent Laubeuf, Hiroshima: Catastrophes … Miyajima: Suspended …
The journey takes place in the footsteps of the person who lives it, but can also be read as a notebook, in a broken way according to associations, swings and curls. These obey both real and imaginary guests, decoded interiors, open in constellations of colors and perceptions.
On returning from a concert tour that we did in Japan in February and March 2016, Paul Ramage and I wanted to share a two-sided notebook, like a book that would read both ways, and that would give To see or to hear two perceptions of the same trajectory.
This notebook is a representation in hollow of the singular experience and the interiority of the us.
In these two moments, side by side, sound landscapes recorded on the spot, more abstract electroacoustic music as well as the testimonies of two Japanese women who shared a time this trip:
– the sonorous landscapes are reconstructed by the assembly and the mixing to give, in an exacerbated way, the sensations perceived on the spot;
– Electroacoustic music sometimes represents the interiority of the traveler, sometimes become a musical gesture, crystallizing emotions;
– Yumi Fujitani and Kumi Iwase, who have lived in Paris for a long time, tell us about their country of origin, evoke memories, images, and, with the distance, their perceptions of the evolution of Japanese society …
to hear this work:

The “Expanded” Guitar of Bill Horist

Let us discover the sound worlds of the American guitarist and composer Bill Horist between prepared guitar and live electro-acoustic music processing.

1-How do you define your music (theories, influences, goals)

I’m very inconsistent in defining my music.  Ultimately the defining factor is the music itself.  My main interest in defining it at all is to present it within a framework to which a listener, whether familiar with my music or not, might gain a foothold in understanding.  Even the framework under which I operate can change as I find new inspiration, not always by a new sound or technique, but by a different way of viewing the material with which I’m working.  Though I am firmly committed to the idea that the quality of art should stand on its own merit and not garner value based on an explanation, I do feel the strength of building some sort of connection between a listener and the work.  This is especially true when presenting to listeners that aren’t familiar with more abstract music.  Often, a simple guiding framework can open one’s mind and ears.  Despite the arcane nature of what I do, I have always valued reaching an audience beyond informed listeners – to the normal people who listen to conventional music.  I remember stepping through the experimental music rabbit hole years ago and the sense of wonder and revelation that comes with discovery.  I feel like that is my highest artistic honor and responsibility to a listener – to collaborate in that process of discovery.  Though people are willing to be challenged by all sorts of art, leisure, sport and pastime, very few allow themselves to be challenged by music.  Why that is will be a conversation in itself but the result seems to be an extra level of defense against more abstract music.  If I can characterize my work to an audience in a way that might loosen that aesthetic grip and put them in a more receptive state, all the better to accomplish my mandate.

solo at Union Station, Seattle

I played with a group that did a short tour in Nicaragua a few years back.  Though I was playing, by my standards, conventional guitar, it was still pretty effect-laden and out there.  Based on the other acts on the festival bill, I knew this type of playing was going to be outside the idea of what most would consider jazz.  I suggested that my bandleader introduce me as playing “science-fiction guitar.”  This seemed to clear any initial discomfiture most listeners had.  As soon as many were able to accept my sounds as an alien life form, they were more able to enjoy them, hopefully on their own terms eventually.
I don’t think there are any specific theoretical underpinnings in my work.  I put a high premium on originality and it has been my goal to create music that doesn’t sound like anyone else – different enough that any listener can hear the difference without needing explanation as to why it is different.  It should be obvious on its own.  This is one of the reasons that I was drawn to extended technique back in the early Nineties.  At the time I couldn’t see my way through creating original enough music with conventional guitar playing – I still can’t.  Not to say that I don’t get great pleasure and reward from playing conventionally.  It was really just a space issue.  When I began there was simply more space in the realm of prepared guitar to cull out a sound of my own.  Even that has changed drastically now.  If I were beginning now, it would be much harder to find a truly original voice.
I am certainly not suggesting that my work is without precedent or influence.   Just that there was enough terra incognita in that world for me to create a sound of my own while being inspired by antecedents.  Specifically, I was very inspired by guitarists Fred Frith, Nels Cline, Jim O’Rourke, Keith Rowe, and Hans Reichel.  These guys were my gateway.  But when I moved to Seattle in 1995, I was moved by people I met who were practicing extended technique on their instruments; like Sue Ann Harkey and Troy Swanson.  This was new to me as I had moved from an extremely small town in Michigan where there was no direct access to musicians that were pushing envelopes.  From there it snowballed with new friends and collaborators from the Pacific Northwest and beyond.
Things that have been more generally influential include the contest between nature and technology, the struggle for and redemption of control and the often-unwarranted hegemony of virtuosity.  These days I am very influenced by birds and marine invertebrates – especially plankton.  How these current influences will shape future work I have no idea, but I find them truly fascinating!                     
2-Where do you come from musically and how did you accomplish your musicality?

I didn’t have a particularly musical upbringing.  I was compelled to play piano against my will for a few years but dropped as soon as I was given the choice.  In the early Eighties, I got turned onto punk and its underground variants while living near Chicago.  That music inspired me to give up trying to fit into the conventional world.  A good thing too because I was really terrible at fitting in!  This new culture inspired me to follow my own path in all things (for good and ill). 

solo on Sonarchy – KEXP Seattle

Eventually, a couple of my brothers (my parents adopted several kids  while living in Chicago and Michigan) invited me to play bass in their punk band.  All I had to do was get a bass.  And I did.  Our band – the Evicted – only lasted for a summer or so but in the meantime I met a keyboardist named Eric Bowers who was doing all sorts of interesting quasi-industrial synth stuff.  We became good friends and I began creating abstract tracks together on an old cassette 4-track.  I started singing and picking up a little guitar during this time.  I became enchanted by the process of constructing, track by track, little sonic sculptures.  By 1987 or so I had put together a band – Jumanji (way before this great childrens’ book, written by local writer Chris Van Allesburg became a big, terrible film with Robin Williams).  I was singing, not playing guitar.  It was basically a bad Joy Division rip off.  Eventually our guitarist quit and I picked it up.  When I started college, I simultaneously realized that I was a terrible singer and that I preferred playing guitar.  It was then that I was turned on to John Zorn’s Naked City and the Mahavishnu Orchestra.  From there, everything just bloomed as the musical connections from those two points ran amok in my ears for the next twenty years.   Those influences came to bear on my next band in Michigan in the early Nineties – Nobodaddy.   Like Jumanji, membership included my pal and mentor Eric Bowers.  This was an all-instrumental mash-up of King Crimson, Naked City and Meat Puppets and was the vehicle that drew the interest of producer Randall Dunn, who was at the time studying engineering in Seattle and starting his label, Endless Records.   It was through this fortuitous meeting that I ended up with a one-way train ticket to Seattle in 1995.
To say that I’m self-taught is not accurate – only because I really never seemed to learn anything quantifiable!  It was more like I just picked up a guitar, tried unsuccessfully to replicate things I heard and liked and built a skill-set based on that.  I tried lessons for a while but nothing stuck and I even declared music as a major in college for a while but I dropped out after a month of confusion and disinterest.  Somehow I wanted to keep the mystery, perhaps at the expense of mastery.  When I stumbled onto the less-trodden path of extended technique, it felt that there was little enough authority in this precinct that I could pursue my uncarved block approach. 
 It is often my strategy to give up control and let myself be surprised.  There are also things harder to accomplish for me with conventional playing.  This could mean anything from setting up a preparation that will operate on its own and surprise me with unexpected results to working to minimize my influence based on preferences either at-large or in the moment.  Despite knowing better, I am still tempted to insinuate my opinion and intention into a musical experience.  
3-Present your new work
My last solo record, “Mutei,” was released in 2015 on Important Records.  I don’t have anything due out right now.  In fact, apart from a guest spot or two, 2016 will be the first year I don’t have something coming out in almost twenty years.  As mentioned earlier, an important aspiration for me has been for my records to be original sounding.  This means I don’t want to release a record of material that sounds like any of the previous records.  Currently, based on my live performances, I am still working up approaches and constructs that will define a stand-alone offering.
I have been working on some ensemble pieces that involve more conventional playing and would love to see some of those get recorded but the budget to do it right is pretty high and funding is a bit scarce right now.  Given the current nonexistent return on a record, I just can’t feasibly complete these.     
4-What is your ideal setup for live with the prepared guitar (Preferred procedures, favorite hardware, influences, projects for the future)

I prefer to use amps that have a broad bandwidth because I like to access deep low end.  Because of this, and the fact that my goal isn’t to produce a traditional guitar tone, I really like using bass, keyboard or acoustic guitar amps.  Typically when I’m on tour, I’m at the mercy of whatever amps the venue or local musicians have.  This has made me pretty flexible in the live setting.  Every piece of gear has its nuances and, regardless of quality, I aim to take advantage of those.  Sometimes I can’t harness the nuances to my advantage but that is part of the gamble – to make the best of what I have.
I have a host of delays, loopers, pitch shifters and distortions but the most important in my chain is my compressor.  It is a Tech 21 Bass Compactor and has both high and low end knobs – which was unique in a pedal compressor when they came out.  Often I am seeking hidden sounds within the guitar, what I like to call “microscopic” sounds.  The compressor is like the microscope that brings the tiny sounds into audibility.  Without this, most of the sounds I work with would be unheard.  I like delays and loopers to create multiple simultaneous voices and pitch shifters allow me more pitch options when working with various preparations that, while offering wonderful timbres, often reduce the number of pitch options.
As for the objects I use – I favor objects and strategies that call for a different way of playing the instrument and/or that allow for sounds to be created without my direct intervention.  I have long threadwire that I put between strings and just let them undulate on their own by bouncing the guitar gently in my lap.  I use magnets that stick randomly to pickups and frets.  Blowing on tinfoil that is threaded between the strings like a blade of grass gets great whale/brass sounds.  Anything that allows randomness and surprise will hold my attention.  Nails between strings while pounding the body of the guitar create unearthly, mechanized woodpecker tremolos.  These techniques and more appear in the links listed below. 
A thing I struggle with is that once I’ve found a cool technique, it can become habitual.  It can feel like a safe space for me as a performer because I know pretty well how it will work.  It becomes a challenge in performance to give up the unknown for something I know will sound cool so I push to incorporate both in any situation.  I have accepted the struggle between mystery and mastery as a large part of my work and I imagine it will be that way as long as I perform.     

with Chu Makino

With Davida Monk at the St John Sound Symposium

Denis Shapovalov and OBS label: the avant-garde electroacoustic label

Our label was established in the year of 2004. In the beginning I was using it to release my own projects on cassette tapes, then later I’ve started publishing other artists from western countries. In a way it was more interesting and appealing to me than just doing solely my own sound art. During that time my main focus was in this archaic drone sound, but I felt like it became a mainstream which made me completely lose my interest, I couldn’t perceive it any longer.

As I’ve mentioned before, the OBS began its work with some weird drone and Musique concrète styles, with such releases as Placement & Adriva, Five Elements Music, Andrea Marutti, Jim Haynes and Five Elements Music & Denis Shapovalov. Then I got a feeling that the drone music in Russia has turned into an obvious mainstream which made me completely reluctant to work with anything else from that genre. I figured I could bring some diversity, more rigid and concrete, if I can put it in those terms. To be honest, I still consider those releases being mainstream in a way. I just didn’t know if I could publish something more mature in electro-acoustics as I had doubts thinking that a highly regarded and serious composers would be interested to get published in Russia.

It really happened by accident, we began to cooperate with French authors, such as Vincent Laubeuf. It was a kind of experimental thing, destroying the boundaries between the underground and academic scenes as the drone and soundart were boring the hell out of me. In addition, the same superficial fashion has come to Moscow and St. Petersburg, the cities that dictate their trends to the rest of our country. So in general the main concept was to create an alternative to Moscow-Petersburg based labels and their mainstream propaganda.

bandcamp link
facebook page

The Music of Manfredi Clemente

VaresElectronique presents
a talented Italian composer of concrete music.
Here it is Manfredi Clemente.

How would you define your music?

If we speak of my composing, then I continue to define what I do as ‘concrete music’, which is an expression that from a certain point on I adopted and substituted to the more recent ‘acousmatic’. At the same time I noticed that it started emerging among my peers as well as the younger (although many of them often have a vague idea of what it is). Anyway, in addition to the compositional activity, there are also my other ones: improvisation, which started just for fun in the studies of the University of Birmingham, and field recording, which has always interested me and that somehow blends in both previous.

What are the theories and objectives behind your composing?

It is difficult to define a precise or univocal objective for my various activities… Basically I would say that there is first of a strong fascination with the sound and with what can be conveyed through the sound.
I often compare the act of composing – a term which is considered obsolete on which, however, i want to insist – to that of poetical writing. I think the basic principle of listening, at least when we refer to pieces of concrete or acousmatic music, is the exploration of sound images that the composer is offering to us.
In this sense I imagine a piece as a sum of spaces deployed on a time axis and therefore amenable to exploration… and the ultimate goal which I imagine for music is precisely the exploration itself. Exploring triggers a mechanism of evocation of meanings and senses that are just ours and no one else: you could say, then, that when we listen we explore ourselves. This is the reason why in my little introduction to musique concrète (which I was once asked to write), I used the metaphor of ear listening to itself.
To get back to your question, in composing (and perhaps also in improvising) my goal is to stimulate this kind of listening: my work is first and foremost a means I have to listen to myself, and then a tool that I hope will be useful in the same way for the audience of my concerts or to those who listen privately at home.
Of course, on the side of this there are other kind of thoughts… in the end reaching that goal, I also want to deal with the technical and aesthetic history of music-making in general, and of concrete music in particular. In my life-time, I would like to be able to escape the clichés of certain mannerist experimentation to find even just one expressive solution that can be considered a novelty.
In an interview with a Sicilian journal, Salvatore Sciarrino said a once that art is for everyone, but it does not give itself to everyone.
We will see what will be of my attempts.

And the field recordings?

That is a practice that somehow I conquered slowly. At first I considered it as a way to accumulate material that I could then use in my compositions. Since a few years, though, I tend more and more to record with a landscape approach, so that most of the time I prefer large, airy, ‘long sequence’ takes. Let’s say that soundscape is a way that I found to combine my passion for sound with the pleasure of hiking, especially in Sicily. This is the reason why, imitating others who already do that, I decided to dedicate a section of my site to my soundscape and field recordings.

Where did you come from musically and how you realized your musicianship?

I’m not one of those who can boast an obvious musical talent since childhood, not at all… When I was about 13 I began to study jazz, blues and bossa guitar, becoming then a really bad guitarist. Nonetheless, as a kid, I really liked those genres and in a way or another they marked me. I consumed my brother and sister’s CD’s, always insisting on a few of them: Keith Jarrett in Tokyo (1996) and De Andrè’s concerts with PFM are a couple of the ones that come to my mind, but there were many other things, often absurdly heterogeneous and sometimes rather trash. Anyway, my actual ‘musical origin’ is that of DJing as when I was about 15-16 I started to get interested in reggae and roots music, collect vinyls and organizing partys around the city. Then, rather slowly, I started knowing other genres: I met Dub music, IDM, some excellent underground Dubstep from the first decade of the 2000s (of which I have a good collection in vinyl, especially from the label Tectonic). At the same time, however, I also learned to appreciate the classical and baroque repertoire. Anyway I never managed to consume all my curiosity in a single genre, so that my research has been continuous and exhausting, until my arrival at the Conservatoire (after several years of studies at the College of Biology), where I finally discovered contemporary music, the electroacoustic repertoire and so on… I would say that rather than having a talent, an innate musicality, I’ve been building it over the years, with hard work and with many listenings, studying as much as possible, always with the idea of have a lot to recover.

Present your new work:

After a fairly long period of intense composition due to my PhD in Birmingham, I am in a phase of study of my own “catalog”. I’m trying to understand what I have produced over the past four years, i.e. in the years when my production changed and matured significantly, and in which I also produced those pieces recently published by Denis Shapovalov (Obs). One of my recent works is still to be presented officially in a public concert: I would hope to publish it soon. It is called “Buificazioni” and is a collaboration with the playwright Dario Enea, from Palermo too, inspired by Rimbaud’s Illuminations. He wrote a text in aphorisms which I then set to music, alternating each vocal aphorism with a musical fragment. At the moment I’m working on a piece commissioned by “Audior”, where I picked up the challenge to get inspired by a natural fact portrayed in a photography, something that I had never done before. Last but not least, I will soon be part of a European project on soundscape organized by the GMVL, Amici della Musica di Cagliari and Tempo Reale. I will be involved in recordings on the Sardinian territory. As for more general aspects of my current works, I can say that I’m trying to better control my style, better approaching forms and relations between the parts of the acousmatic writing, trying to reduce them to the essential: I dream about the complex simplicity of some of Pierre Henry as well as Kurtag o Scelsi works.

What is the idea of performance you conceive for your music?

Nowadays there is in electroacoustic music a tendency to adopt ways of performance from other fields, and in particular from the DJing. Nonetheless this kind of practice results in being rather ridiculous when everything that defines the rituals of clubbing disappears. It happens in fact that in order to imitate the DJ one adopts a number of exterior choices that make little sense in electroacoustic music: without asking himself why, one decides to star in front of the public, enlightened, perhaps semi-hidden by some smoke, doing gestures which are unrelated to the production of sound. This does not interest me at all: I do not see it as a nice ‘crossover’, but as a rather sad attempt to gain audience. If we speak of a concrete music concert, then the acousmonium is my ideal solution. Taking care of the acousmonium of the Amici della Musica di Cagliari and playing for four years with BEAST I learned to understand these complex instruments: dozens of loudspeakers (about a hundred in the case of BEAST) surrounding the public, on which one can distribute the sound originally inscribed in a few channels … it is a unique experience, but in which the interpreter is (or should be) set back, suggesting that his work is not something to offer to the eyes. Once again, the physical gesture is not connectable by the viewer to what happens, it does not inform the listener in any way. It is then preferable to encourage concentration on listening rather than on vision: the most effective concerts that I have done happened in total darkness .
In the case of an improvisation set it really depends on the type of concert: sometimes you can be part of an ensemble that also includes musical instruments, and then it is nice to establish the classic frontal relationship with the audience, as at least part of the cause-effect relationship is re-established and certain mechanisms of interaction between musicians return apparent to the eye. But for my solo with no-input mixing board, the frontal position is not necessary; I would just like to have a focused audience.
Overall I am also very interested in the kind of experience I can offer to people listening to my music at home, both on speakers and on headphones. I think this allows to establish a much more intimate relationship with the music. The use of natural dynamics in my tracks is designed precisely to let the listener move closer to the source, to encourage that exploration i was talking about earlier.

Here you can find the website of Manfredi Clemente:

The Music of Vincent Eoppolo

Vincent Eoppolo is really a special artist!
Let us discover his path with an author’s testimony:

Vincent Eoppolo
Wilmington, Delaware USA.

I began composing music when I was 13 years old and received formal music training till I was 19. I studied jazz and classical guitar as well as traditional theory, harmony and composition. I began experimenting with multiple tapes recorders in my early 20’s (circa 1982)
I purchased my first synthesizer and began building my first studio in 1984. I am totally self taught but owe a debt of gratitude to
American electro-acoustic composer,professor and co-developer of the Synclavier Jon Appleton. It was his book, The Development & Practice of Electronic Music
and his recordings that gave me the greatest inspiration.

I view my works as a synthesis of various sound art traditions including musique concrete, acousmatic music and radio art / radio theater.
I have always been inspired by the pioneers in these fields such as Luc Ferrari, Pierre Henry, Francis Dhomont and Orson Welles.
Additionally, I am also very much inspired by cinema and the works of directors such as Orson Welles, Antonioni, Pasolini and Kubrick
In most cases I am attempting to make my works cinematic. I am attempting to make sonic films.
In my work I strive to capture and present brief moments of the world we are living in. Society in the continuing process of realizing itself.
Our relationship with each other, with technology, our morality, spirituality, sexuality, our anxieties and fears. In many ways my works are like
sociological and psychological commentaries. I achieve this aspect of my work by spending hours on social media sites like YouTube searching
for the perfect audio source. I am using society’s actual commentary, society’s voice not mine. I only put it to music.

With respect to the technical aspects of my work, I’ve never had an allegiance to any particular school of thought, technology or compositional technique
as I’ve always utilized whatever tool I have access to. Currently, I am using a modular synthesis system largely made up of Verbos Electronics and Mutable Instruments modules. I also utilize my Buchla Music Easel, Yamaha S90 and Waldorf Microwave XTK. However, the cornerstone of my sonic foundation are the IOS applications from ApeSoft. IDensity, Stria, Sparkle and Ipulsaret are used in nearly every work I’ve created. They are amazing applications.

My recording process consists of recording all my audio in real time into to Logic. I do not use MIDI or sequencing software of any kind.
Like musique concrete composers of the past, I spend hours editing the raw sonic material into what you hear in the final work.

Thankfully, my work has been featured on Bernard Clarke’s program Nova on RTE’s Lyric FM, Phaune Radio from Montpellier, France as well as Radio Art International and Passeport International from CHOQ Radio in Montreal. My works will also be presented at the upcoming 2017 New York City Electro-Acoustic Music Festival
in June and July of 2017.