Elements puts together various adaptive music investigations of different music generation techniques. This app needs a UI, and the UX is yet to be decided, other than the music becomes more upbeat as you move around.
Ominator is an app with generative music that responds to a person's humming pitch via the iPhone's microphone.
The music is composed in Pure Data, within a python wrapper, running on a Raspberry Pi Compute Module within the stone.
AudioNode was a proof-of-concept paper where emotional elements of gameplay were mapped onto musical parameters in the soundtrack in attempt to create a more immersive user-experience.
Here, I used a libpd-based audio engine to generate music that adapts to the user's heartrate, measured using a smartphone's flash and camera.
This is a sample of what the user might hear as generated by the app. The structure is not fixed, as the app changes the combination of the samples, producing a different track on each usage.
In this work I used libpd to generate music that adapts to a user's respiratory rate, captured on a mobile device using the accelerometer.
This is a screen capture of someone using the app.
Working with Daniel Wiedemann to create a sinister atmosphere for his captivating game "LiZZE"
This was a short exercise in writing audio to video using Logic Pro. I stripped most of the audio off, but tried to keep some of the sound effects, as I didn't want this to be an exercise in sound design. However, I ended up needing to add a couple of effects of my own, as I found their absence jarring.
This was created in a very short time to test working with video in Logic, as I had previously used ProTools.
"Brushworks" was created in 2002 as part of my MMus in Electroacoustic Composition. We were privileged to have Clive Walley as a visiting lecturer, and were allowed to choose one of his animations from his series of 6 Divertimenti to experiment with our own soundtrack.
I had been keen to experiment with prepared piano, and the audio is composed from a recording of an improvisation of David Casal, and myself on soprano saxophone.
This was one of the most definitive works in my academic career. Collaborating with animator Sarah Woodward, we won one of 6 commissions from Sound and Music (formerly Sonic Arts Network) to create a short film based around the idea of the collaboration between a sonic and visual artist.
The ambitious aim was to present the progress of a lifetime analogous to the passing of a day.