As a composer and researcher my work extends across sonology, electronic music, electroacoustic music, computer music and sound art. I utilize and teach software and hardware as a means of composing and analyzing music and sound. Many of my works explore and relationship between musical form and sound through the manipulation of the psychical properties of sound. I primarily use and teach the following digital audio workstations (DAWs) and programming languages for real-time audio synthesis and algorithmic composition:
Max/Msp and Max for Live
I first ventured into the world of music technology and sonology at Center for Innovation in the Arts while completing my Bachelor's degree at The Juilliard School. What began as a desire to get higher quality recordings of my acoustic compositions, quickly became a fascination with acoustics, music production and computer music. In addition to Finale and Sibelius notation software, digital audio workstations (DAWs) such as Ableton Live, Pro Tools, Logic Pro and FL Studio became a part of my creative toolkit. My interest in electronic and computer music only grew stronger during my graduate studies at Princeton, where I began working with programming and visual programming languages such as Max/MSP/Jitter, SuperCollider and building my own digital instruments, audio effect devices, and production tools in Max for Live. Today I utilize both digital and analog tools for composition, analysis, mixing and mastering.