One of my main areas of research and activity is sound projection. I have been researching the early practices used, primarily by composers who worked at the WDR Studios, Cologne, and especially the performance practice of Karlheinz Stockhausen. Some of these techniques are used for historically informed sound projection concerts, but the main purpose of the research is to identify useful techniques to build my own practice on.

Matt Collings wrote a piece for violin, cello, clarinet, laptop and live visuals. This was premiered in Edinburgh in 2014, and then a new version was performed in the CCA, Glasgow on 5th March 2015. The sound projection for the second performance was scaled up to four channels, and for that I used a custom Penny & Giles 2 channel quad panning unit for live panning of a computer channel and effects.

I promoted and did the sound projection for the Scottish premiere of Karlheinz Stockhausen's "Hymnen" for four-channel tape. The concert included a short talk about the piece after which I played Regions I and II followed by an interval, and the Regions III and IV.

I used a Maihak W66c fader to control the overall volume level via the Metric Halo sound card. This is the same type of fader used in the WDR STudio for Electronic Music from the 1950s through to the late 1970s, so provided a nice connection to the performance practice used in the studio realisation of the piece.

Live sound design for an enhanced screening of Tron, produced by New Media Scotland at the National Museum of Scotland as part of the Science Festival.
Matt Collings and I set up laptop, synths, handheld video games (Pac Man, Galaxians etc.) and one of John Richards' Dirty Electronics noise machines and did live sound projection through a Meyer Sound 5.1 system set up and tuned by me.


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