Ah yes, finally a recording. You'll have to excuse the barbarian pianists. He hadn't slept in three days. Special thanks to Lindzy Volk for pushing through my work! I couldn't have asked for a better performance.

Some layers of the low E on guitar with manipulation. 

Low E

Bokeh is a trio for Clarinet, Horn, and Piano. The term bokeh is used to describe the way a lens brings objects in and out of focus. Through the piece, material is moved to and from the foreground. At times nothing is in focus. Special thanks to Aaron Hoerst (horn), Angela Kinerk (Clarinet), and the regal Chris Rieger (Piano).

Bokeh (2013)

This is a sample resulting from beat making software I developed in MaxMSP. The original idea was taken from a Cecilia 5 module developed by Olivier Bélanger. The patch plays 4 instances of a single buffer (this can be a song, sound or any audio) and divides them into frequency bands. Each instance can play from any location in the sound file. A step sequencer is available for every frequency band, allowing a user to reorganize the original sound file in a beat-like fashion. Each buffer instance has an individual ASR envelope, including depth control. Parameters of the synth are able to be controlled at random. For each of these parameters, a user can prevent the random change from happening discretely. For every step in the sequence, a second switch exists which turns subdivisions on or off for that particular step. The number of subdivisions is determined at the right of the step sequencer.

If you would like to try this software out, download the max patch here: andersonmaxblog.wordpress.com

It is also available for macintosh computers without Maxmsp as a standalone application. 

80sSong BeatFarm

Melange is a stereo piece composed using coffee related sounds exclusively. The form of the piece is derived from the coffee making/drinking process, beginning with the grinding of the beans and ending in a high-energy/over-caffeinated state. Various particle synthesis methods were used in the creation and manipulation of sonic gestures with varying degrees of stochasticity. An abrupt change in the pacing of this piece reflects the change in attention span length one faces after consuming too much caffeine. Ideas become shorter and less predictable yet show an increase in potency. The title draws parallels of coffee to the spice from Frank Herbert’s Dune novels, which can give one both the ability to see into the future and control of the universe.

Melange (stereo fixed audio)

Studio Study No. 1 places spatialization in the foreground of sonic development. Software was developed to algorithmically place sound in a 16 channel, 3-dimmensional audio field. Through this, the texture to gesture paradigm is achieved exclusively through the spatial structure of a sound, or series of sounds. Another software tool, an expansion of John Chowning’s Quadraphonic Mover, was developed to “move” sounds through the same 3-dimmensional environment. In adherence to the subsequent works in this series, all sound sources are created from items found in a recording studio.

I've only included part of the piece that hasn't been totally ruined by the stereo "mix"

Studio Study No. 1 excerpt(16 channel fixed audio)

Microbial Surfaces

Strain Ten made use of a non-real time C++ genetic algorithm to develop synthetic source material. An initial population of virtual sound producing organisms combined and produced offspring with inherited parameters. Stochastic environmental parameters determined which organisms were allowed to live and pass traits, thus shaping the timbral characteristics of future generations. Strain Ten itself was not determined wholly by the genetic algorithm; sounds produced by the algorithm were used freely. In order to facilitate this use, rendered sounds were self-organized into a taxonomic file structure.

Strain Ten

Bits and Pieces stereo mix

This is a short piece I wrote yesterday. 

Aaron Anderson

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