I would describe myself as a composer trained in the British acousmatic and American computer music traditions with a strong practice in the discipline of musical signal processing. As a former member of the Birmingham ElectroAcoustic Sound Theatre (BEAST) I’ve received an education in the art of sound diffusion, bringing spatio- musical concerns to the forefront as a compositional and performance dynamic. From 1997 I’ve investigated the application of Ambisonic technologies as a comprehensive approach to develop a spatio-musical language—resulting in tools and signal processing techniques and musical outputs.

In recent years, a number of authors have set about defining spatio-musical and spatio-perceptual paradigms. While these theoretical frameworks are extremely useful for the composer, a comprehensive musical signal processing technique allowing musical control of spatial attributes hasn’t been adequately presented. Instead, composers, artists and producers are often left with ad hoc approaches.

The development and deployment of Higher Order Ambisonics (HOA) offers enormous opportunities for the artist. Along with HOA soundfield synthesis, soundfield capture techniques have recently been developed and commercially delivered — which begins to bring HOA in line with Gerzon’s mature 1st order systems. While HOA theory continues to evolve, a very important opportunity lies in brining forward the spatio-musical composition and signal processing techniques I’ve developed to an HOA context. And, it is expected this activity would offer a comprehensive paradigm for composers, artists, producers and broadcasters working with spatial composition.


The Theory and Technique of Electronic Music, Miller Puckette (review)
Journal of Music, Technology & Education, Volume 3, Issue 1, 2011

Technika ambisonics: Bardzo krótkie wprowadzenie do innowacyjnej teorii (article)
Glissando, Volume 16, 2010

Classic Stereo Imaging Transforms—A Review (book chapter, ed. Basso, Di Liscia, Pampin)
Espacio y Música: Ciencia, Tecnología y Estética, Quilmes University Press, Buenos Aires, 2009

Mastering the Epiphanie Sequence (article)
eContact 9.3, Canadian Electroacoustic Community, 2007

What is Ambisonics and how can I get some?? (article)
eContact 2.4 ix, Canadian Electroacoustic Community, 1999


Authoring complex Ambisonic soundfields: An artist’s tips & tricks
Sounds in SPACE Symposium (University of Derby, Derby, UK, 2011)

Laguerre Warped Filters for Ambisonic Imaging
S(PACE) Symposium (De Montfort University, Leicester, UK, 2011)

Adapting Artificial Reverberation Architectures for B-format Signal Processing
Co-author: Mr Sean Costello, Valhalla DSP / DSP Concepts
Ambisonic Symposium 2009 (Institute of Electronic Music and Acoustics, Graz, Austria, 2009)

Introducing. . . the Ambisonic Toolkit
Ambisonic Symposium 2009 (Institute of Electronic Music and Acoustics, Graz, Austria, 2009)

Extracting My Ladye Nevelle’s Booke for the Acousmatic
Co-author: Prof Christopher Wilson, University of Hull
Royal Musical Association International Conference (University of Aberdeen, UK, 2008)

The Epiphanie Sequence: Thoughts on the Reflexive Moment in Acousmatic Music
Visiting Scholar’s Programme (Universidad del Claustro de Sor Juana, Mexico, 2008)
Sounds Electric ‘07 Int’l Festival of Contemporary Music (Dundalk Institute of Technology, Ireland, 2007)