Selected Conference Pieces
Summermood (1981) - Antonio Russek (arr. Sasha Ishov, Jeremy Hyrkas, Pablo Dodero Carrillo, Teresa Díaz de Cossio Sánchez)
Summermood is a 1981 piece for bass flute and live electronics composed by composer Antontio Russek. The piece was originally written for the DeltaLab DL-4 delay, which is no longer in production. To make the piece playable again, I simulated the electronics using Pure Data. This recording features Sasha Ishov on bass flute. It is the first new performance of Summermood in over three decades and was presented at PdMaxCon25~. This collaborative work is ongoing, with future manuscripts and performances planned.
The Hearing Test (2024)
Auditory roughness is a psychoacoustic phenomenon that is often attributed to rapid amplitude modulation or multiple sinusoidal components in a sound that fall within the same critical band of the human ear. It is a physically experienced discomfort that may nevertheless be received differently depending on individual and context.
The Hearing Test imagines a world where auditory experiences are routinely adjusted using corrective technology, similar to glasses that adjust the experience of sight. Over the course of the piece, roughness is adjusted using mathematical estimations and adjustments to frequency, amplitude and spatial positioning of sinusoidal components. The listener is encouraged to decide the effectiveness of techniques as the piece grapples with the daunting task of attempting to understand the auditory experience through listening tests. And above all else, the listener is encouraged to pay attention to the pressure on their ears - and enjoy the release whenever possible.
This work is best experienced using headphones. A multichannel render of The Hearing Test was presented at the ICMC 2024 conference.
bell / boom (2020)
bell / boom utilizes time-varying, multilayered voices created through network modulation synthesis to explore blooming musical textures. A shallow synthesis tree with one root and five leaves, each with slightly different parameters and algorithms, was used to create sets of audio samples in five voices, each voice unique but related. Steadier voices use predictive feedback, with audio that changes very slowly over time; busier voices were generated through standard oscillating parameter sweeps. Samples are played back in a Max patch using a MIDI controller, with different combinations of voices combining to generate each textural note. The voiced instruments are combined with a chaotic introduction, a drone, a bell, and a boom, each created using the neural network synthesizer. This recording is a direct-to-DAW performance of the system.
A performance of bell / boom was presented at the ISMIR 2020 conference.
Other Solo Work
its fine to do twice (2025)
Generative piece created using Max/MSP and custom externals.
found the bee (2025)
“Tape music” with a custom plugin for real-time vibrato transfer.
I'll Give You One / Four (2020)
A deliberate mistreatment of the Ableton grid.
bloviation encouraged! (2019)
Text-to-synth composition.
to: alex, with regret (2019)
My regrets for the nets.
verde (2019)
Swapping bins with the neighbors.
should white men play the blues (2018)
A guitar riff transformed.
loneliness in space is the same on earth (2018)
A mellow gaze.
Études / Experiments
now we’re cookin (2019)
andy's melody (2019)
transmission (2019)
playing the cave (2019)
cave explosion (2019)
increase the gain (2018)
tonsure (2018)
Garbeau (2013-2018)
I played lead guitar in an indie rock band called Garbeau. Our album "Hallways" can be streamed below.