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Manifolds 2021

Manifolds Manifolds is an audience participatory installation that features synchronized instrumental gestures with a dark cinematic atmosphere. A sound system in the gallery receives the main channel containing low frequencies, while the higher voices are solely distributed through the audience's cellphones.

Between the Earth and Sky 2020

Between the Earth and Sky An ambisonic recorder is bouncing around in the back compartment of a moped on the streets of New York. Plus Buchla. Cyland 1/1 Competition Shortlist Award.

Methods of Expansion and Contraction 2018

Methods Methods of Expansion and Contraction is a 16-channel sound installation presented 2016 on Governors Island in New York City. Sounds were created on a Buchla Music Easel and a Hordijk Blippoo Box.

Euclidean Horns / Buchla Version 2017/2019

Euclidean Horns Euclidian Horns was originally written for the horns of the ships in St. John’s, Newfoundland, transforming the tugboats, trawlers, and ocean-going freighters in the harbor into an orchestra on water. The sound in the bowl-shaped harbor carries for up to 12 miles. The piece is written for a maximum of 7 ships, but as on the day of the performance only 4 ships were available, I recreated the 7 voices of the piece using a Buchla Music Easel.

Conflict of Interest 2017/2018

Conflict of Interest Originally commissioned as an Endangered Guitar work by Berlin’s Klingende Datenströme Festival 2017, this version for electromyographic gesture controller was presented at Hunter College in 2018. The spatialization was done on an 8-channel cube system, here I folded the height channels into the lower ones.

Balance of Power 2005

Balance of Power The LEMUR GuitarBot ( is a collection of four MIDI-controlled monochords built by Eric Singer. This piece is a 2005 multi-channel recording of the guitar pickups, overhead microphones and computer processing channels. It was presented on 5.1 surround sound installations in the US, Germany and Bulgaria. You’ll hear the 4 channels of the surrounding speakers, with the center speaker added to all channels.

Tail Rotor 2011/2016

Tail Rotor Original 12-channel version recorded during a residency at Diapason Gallery 2011. Published 2016 as TAIL ROTOR on album Deus Ex Machina / Endangered Guitar Live, on label Clang. 4 channel mix.

Endangered Guitar 2006

Endangered Guitar Excerpt of a 17-channel performance at Issue Project Room, NYC (16 channels under the ceiling of a circular space, one channel in the back of the audience), mixed down to 4 channels.

At the Hendrix Hotel 2018

Hendrix 4-channel remix of the original 8-channel version premiered 2018 at Spectrum, NYC.

Oxide in Cologne 2012

Oxide Excerpt of a performance of our Oxide duo in Cologne in 2012, with Christoph Irmer on violin and Hans Tammen on Endangered Guitar. Ideally the violin is positioned in front, with the guitar live processing channels to the left and right. Only one channel per device is available at any time, starting with the violin.

How to

Quick Start

Click on a piece to choose Start new session, on your computer, smartphone or tablet. Then Join existing session on all subsequent devices, and follow the directions.

Start New Session

Start the session on one device. The first device acts as the main device. This could be a computer connected to a sound system. Some of the works use the main device for the lower frequencies, but the bass is not always crucial for the listening experience.

Join Existing Session

The easiest way to join an existing session is to go to the main device’s screen after the piece started. Click the Plus sign at the top right, or Click to add devices and use the QR code on your smartphone or tablet.

You can also go to the main URL of the piece, then click on Join existing session. In your device, enter the 6-digit code you see on the main device’s screen. This would also be the method if the listeners are not in the same room.

The main device controls the play/pause buttons and the position on the timeline. One could go back to the start of the piece as soon as every device is connected.

Maximum Number

The works on this site do have a maximum number of voices, and which voice you’re hearing is listed at the bottom of the page. When the maximum number of devices is running, any subsequently connected device will show an empty screen.

Multichannel Options

The voices of each piece are distributed individually to your computers, smartphones, and tablets. Depending on the work, you may hear more than one voice on your device:

  • some works use one of the voices on every machine, together with one or more other voices,
  • some works only allow for a single voice to be played on any device,
  • some works play all voices on the first device but then distribute all the voices between devices that log in subsequently.

Internet Connection

The devices do not need to be on the same network. In theory the devices do not even need to be in the same room, as devices from different parts of the world could connect to the same listening session.

Audio Orchestrator

You can find out more about the Audio Orchestrator at the bottom of the About page.


Radio Panspermia

The Panspermia Hypothesis proposes that life on earth may have come from bacteria distributed through interstellar space. 15 years ago, I found it a fitting metaphor for a performance/installation project I conceived of. I would beam the sounds of my Endangered Guitar performance through a radio transmitter to various radios in the space, all set to the same frequency.

It would have been the same sound; however, large radios would provide the lower end of the spectrum, smaller radios the higher parts. The audience would carry around hand-held radios to project sounds in different directions, making it a moving loudspeaker orchestra.

Audio Orchestrator

Using BBC R&D’s Audio Orchestrator (see links below), one can make this today into a multichannel performance over the internet. Each voice is different and plays through its own device: desktop or laptop computer, smartphone, or tablet.

One can experience the works on this site at home as a spatialized environment. So far, I have re-composed eight pieces for the Audio Orchestrator, using sources and excerpts of multichannel performances and projects from the last 15 years. The works use between 4 and 16 voices, but I re-edited the works in ways that one can get some idea when just two devices are connected. Not many people have 16 computers at their disposal, however, 16 people could easily attend a public installation.

Loudspeaker Orchestra vs. Sound Objects

For many of the 4-channel works, the speaker’s position is indicated at the bottom (Front Left, Front Right, Rear Right, Rear Left), so you could place the devices accordingly. That said, most works follow the loudspeaker orchestra idea, in that sounds reside in just one device and are not panning between speakers. In that case, it does not matter where your device is situated. Examples: Methods, Euclidian Horns, Balance of Power, Tail Rotor, Endangered Guitar 2006 and Oxide in Cologne.

However, I had good results with the sound object concept, too. If sounds move between speakers, one would need to hear all channels at precisely the right position. I focused less on immersive environments (such as ambisonics) but single sound objects moving between individual speakers, and this worked well with the Audio Orchestrator. Examples: Between the Earth and Sky, Conflict of Interest and the Hendrix Hotel.


Link to the Audio Orchestrator is here, the tool was developed by the BBC Research & Development Audio Team. Check out the other tools on Connected Studio MakerBox. There’s a list of pilot productions on the BBC Taster and on GitHub. For more discussions about the Audio Orchestrator see their forums.