Always Almost (you may need to click in the timeline to play)

This is the third of three pieces using ‘generative mixing’. Similar to ‘indeterminate mixing’ (as used in the track ‘The Cutting’), this technique aims break from the tradition of mixing a piece of music to have one constant, identifiable timbre. In some respects it is influenced by cubism in that it pulls the listener’s focus in on the minutiae of sonic elements that only in combination with others create the full sound of the piece. It differs from ‘indeterminate mixing’ in that it is more software based - bespoke software ‘patches’ had to be written in order to control the mixer program.

‘The Invasion of Noise’ is an interactive art installation highlighting the effects of hearing unwanted music, on an emotional, physical, and psycho-physiological level. The installation questions individual selfishness in inflicting our own musical choices on others who happen to be in the same environment as us at a given point in time.

The rationale behind the installation is to highlight the effects of our everyday musical experiences in (particularly) urban environments. We experience music all the time, and if not through our own choice, then by the choices of others. This has profound consequences for our health, both mentally and physically, as well as having social implications. Whether it is hearing music coming out of a mobile phone on the bus, from a car driving past, through the neighbour’s walls, or in the supermarket, the musical choices of others follows us everywhere. When we try to drown this out with our own musical choices, we add to this new sonic signature of the urban environment even more.

This installation was exhibited at London College of Music in May 2011.

Release is taken from the album ‘Modality’, a lofi exploration into the multi-modal nature of sound. In particular, the project focuses on our experiences of sound via touch and vibration. It has been created completely by recordings made with contact microphones attached to surfaces that have been excited into sympathetic vibration by objects such as stereos, traffic, foot falls, etc. These recordings were then manipulated to create melodic, harmonic and rhythmic parts.

Of course, there is a paradox to this project in that it is an audible artistic representation of how we experience sound through vibration! But this concept can be taken or left by the listener. Make of it what you will!

Open is taken from the album ‘Modality’, a lofi exploration into the multi-modal nature of sound. In particular, the project focuses on our experiences of sound via touch and vibration. It has been created completely by recordings made with contact microphones attached to surfaces that have been excited into sympathetic vibration by objects such as stereos, traffic, foot falls, etc. These recordings were then manipulated to create melodic, harmonic and rhythmic parts.

Of course, there is a paradox to this project in that it is an audible artistic representation of how we experience sound through vibration! But this concept can be taken or left by the listener. Make of it what you will!

This is the second of three pieces using ‘generative mixing’. Similar to ‘indeterminate mixing’ (as used in the track ‘The Cutting’), this technique aims break from the tradition of mixing a piece of music to have one constant, identifiable timbre. In some respects it is influenced by cubism in that it pulls the listener’s focus in on the minutiae of sonic elements that only in combination with others create the full sound of the piece. It differs from ‘indeterminate mixing’ in that it is more software based - bespoke software ‘patches’ had to be written in order to control the mixer program.

This concept relates purely to mixing multi-tracks, and does not influence the actual composition of musical notes etc. It can not be used to hide bad composition, lack of emotion, or artistic expression. The third piece in the series is now available, entitled ‘Always Almost’. Please contact me to get a copy.

This is the first of three pieces using ‘generative mixing’. Similar to ‘indeterminate mixing’ (as used in the track ‘The Cutting’), this technique aims break from the tradition of mixing a piece of music to have one constant, identifiable timbre. In some respects it is influenced by cubism in that it pulls the listener’s focus in on the minutiae of sonic elements that only in combination with others create the full sound of the piece. It differs from ‘indeterminate mixing’ in that it is more software based - bespoke software ‘patches’ had to be written in order to control the mixer program.

This concept relates purely to mixing multi-tracks, and does not influence the actual composition of musical notes etc. It can not be used to hide bad composition, lack of emotion, or artistic expression.

This is one of two pieces created using ‘indeterminate mixing’. Similar to ‘generative mixing’, this technique aims break from the tradition of mixing a piece of music to have one constant, identifiable timbre. It differs from ‘generative mixing’ in that there is more human involvement, being mixed according to the interpretation of messages written on playing cards.

In some respects it is influenced by cubism in that it pulls the listener’s focus in on the minutiae of sonic elements that only in combination with others create the full sound of the piece. This concept relates purely to mixing multi-tracks, and does not influence the actual composition of musical notes etc. It can not be used to hide bad composition, lack of emotion, or artistic expression.