Sway is the name I have given to my live processing environment for any number of musicians. It is an example of an interactive music system like George Lewis's Voyager or Pauline Oliveros's Expanded Instrument System. It differs from those systems in that it is an autonomous system focused on live processing audio input.
I've been live coding in some form since 2012. In 2020, I started a remote collaboration with composer Rachel Devorah where we use SuperCollider and Troop to simultaneously shape a live coded sonic structure of manipulated samples and synthesized textures.
My ensemble music ranges from works for trio (clarinet, bass, percussion) to works for medium-sized ensembles with electronics.
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My music for solo bass and electronics incorporates live sampling and granular synthesis to create a dynamic, interactive environment for textural and melodic solo excursions on the string bass.
Since 2006, I've been developing various computer and hardware-based instruments to electronically process acoustic instruments. This includes live sampling and granular synthesis as well as tap delay-based processing. Some musicians I've worked with include, guitarists Christopher Riggs, Joe Morris, Brandon Seabrook, vocalist Anne Rhodes, trumpeter Louis Guarino Jr., and cellist Nathan Bontrager, among others.
Since 2010, I've worked extensively with computer-controlled lighting equipment to create dynamic visual accompaniments to music, dance, theater, and performance. The piece Waver, performed by Rachel Bernsen, incorporates algorithmic computer music and computer-controlled lighting to create a dynamic lighting environment in which Bernsen executes a structured improvisation through a gamut of movement strategies that are tightly connected to the musical content.