Ambient / Meditation project

I’ve created an "Ambient Palette" in Logicfor a number of different calming/meditation ideas. The template I’ll be using for this month’s project uses a Retro Synth for the lowest bass and a couple sounds made with Sculpture for some subterraneous, cave, wind, almost embryonic sounds.I chosestarting with a low frequency as there is a lot of literature on binaural beats and 1HZ Delta brain wave activation.
EX 1: (bass) 
Your browser does not support this audio I’ve decided not to use any REAL rhythmic elements as they may serve as more of a distraction. I do have a subtle rhythmic idea in mind though: Having a pulsating/delay object that changes tempo throughout the course of the song. I’m thinking of starting at 60BPM and lowering the BPM with a gradual curve (Logic_Advanced tempo operations). *I think the tempo mapping would work well with a filter or some very subtle oscillation in a track, rather than a bass note replicating a heart rate - UNLESS, say …

Minimalism (Phase Music)

Not exactly Phase music but similar result, I would say. Here I'm working with a rhythmic concept called "hocket" which creates gaps in one voice to allow a second voice to fit in. I added a few more tracks/voices. Also an idea of rhythmic offsetting/displacement happening near the end when the main melody is shifted over the steadier rhythm.

Your browser does not support the audio element.

from wikipedia: According to Reich "The listener thus becomes aware of one pattern in the music which may open his ear to another, and another, all sounding simultaneously and in the ongoing overall texture of sounds."


I've been enjoying writing some minimalist music, à la Steve Reich mainly, Terry Riley and Philip Glass.

This is pandiatonicism (translates to "all - tonics") and heavily influenced by Reich's Electric Counterpoint or Music for 18 musicians. I'm a big Metheny fan and was excited to find his name on some "minimalist" works so I thought I'd try something similar.

Your browser does not support the audio element.

According to Paul Griffith's there is a single objective process at work, one leading to a music that is "constantly susceptible to adventitious interpretations...the music is made by the ear." Modern music and after: Directions since 1945


In this video i'm using the Kinect patch Synapse to control different parameters in Ableton Live. Synapse was created by Ryan Challinor. He's documented it here: have my torso mapped to the z-axis which is manipulating different dials within a couple Ableton effects. 

This is part of our main project last semester, Kinecraft. Here is a link to the project abstract:


A short excerpt from my Telemusic final performance...

This is part of our main project this year, Kinecraft.  Here is a link to the project abstract:
Here is a link that includes full performance audio:


Rehearsal for a collaborative project in Telemusic class this past semester. This video was taken from the Syneme Lab at the University of Calgary. A laptop orchestra from Mcmaster University in Ontario was accompanying this performance.   

    This class consisted of a couple students with art & music backgrounds as well as computer science. The synthesis of interdisciplinary knowledge was key in the creation of our final project. Those who weren't as capable of writing code made up for it sampling sounds, writing music, working in Ableton Live, etc. On the other hand, the few without much of a background in the arts handled the necessary programming tasks/problems with exceptional accuracy. 

    I enjoyed learning about the process that goes on behind a live networked performance. I can only see this type of networked collaboration increasing in popularity. Our instructor Ken Fields, (the Canadian Research Chair in Telemedia Arts,) taught us all about the Syneme Lab at the…

Plugging in, Tuning out

Considering the current technological environment we are living in, vast amounts of information can be accessed at our fingertips instantly. The internet has broken down space and removed time from our lives, enabling us with abilities brought about in science fiction novels mere decades ago. The methods with which we consume music have changed drastically due to new technology. Not only do we acquire and share it differently, we’ve actually begun listening differently. Through reference of specific theories from various culture critics as well as my own research in music psychology, I’ll attempt to explain how portable media devices have changed our perception of music.
            As mp3 players became popular, more people started casually listening to music. Certainly, music was popular before this, but the ease and portable nature of the mp3 player increased the overall amount of music being consumed and subsequently altered our listening habits. Portable walk-mans and cd players …