Music: "Dinosaurs and Other Creatures", CCRMA Stage Concert, Stanford, June 1st 2023

A one hour long solo concert with modular synthesizers, the Weathered Piano and a Disklavier. Featuring the new Ping Noise Modular, the Applesauce Modular Mark V and the tiny Kastle.

Music: "Dinosaur He[a]rd!", ICMC 2020, Concert 4, Chile, July 26 2021

A 15 minute performance of the Applesauce Modular Mark V Eurorack modular synthesizer at ICMC 2020 in Chile

Music: "Dinosaur He[a]rd!", TWELVE Concert, SEAMUS Conference 2021, April 23rd 2021

A short performance with the Applesauce Modular Mark V Eurorack modular synthesizer in TWELVE, a 12 hour concert in SEAMUS 2021 organized by Constantin Basica

Music: "Dinosaur He[a]rd!", CCRMA World Update, CCRMA, April 2nd 2021

A short performance with the Applesauce Modular Mark V Eurorack modular synthesizer in the context of the CCRMA World Update (what used to be our Open House, Pandemic edition)

Paper: Optimized Decoders for Mixed-Order Ambisonics (May 2021)

A paper on a novel optimizer for mixed-order Ambisonics decoders written by Aaron Heller.

Music: "Wings, for violin effects and other noises", CCRMA @ HOME Concert, Stanford, September 4th 2020

A network performance of another artistic collaboration with Michiko Theurer (violin). The pandemic has separated us geographically, but the network allows us to be close enough to play together in a virtual space. Wings is a duo, Michiko plays violin and I play a new Eurorack modular synthesizer (which I am still domesticating), together with some on-the-fly recordings captured and played back through SooperLoopy, a 16 track asynchronous looper.

Music: "Quarantine Sessions", Stanford and The World, April-September 2020

I have been participating in an ongoing series of online concerts (21 of them so far) hosted at CCRMA, Stanford, and organized by Constantin Basica (our concert coordinator). The "shelter in place" order has moved us to the network and we are still making music. See links to some of the performances (with video and audio) here

Music: "Resurrections", Bing Studio Concerts, Stanford, January 31st/February 1st 2020

The first two performances of Resurrections, a new piece that uses a new improvisation environment (SooperLoopy, a multi-looper written in SuperCollider). The first performance on Friday's concert was a creative collaboration with Michiko Theurer (violin), the second, on Saturday, was a piaNOT solo performance.

The *SpHEAR Project update: refining the OctaSpHEAR, a 2nd order Ambisonics microphone (September 2019)

Another paper detailing the progress of the eight capsule 2nd order microphone, specially withe regards to its calibration.

Music: "The Miraculous Multiplication of Strings", May 3rd 2019, BEAST FeAST, Birmingham, UK

A second performance of the piece in the concerts of the BEAST FeAST 2019 (concerts), another amazing performance by Séverine Ballon.

Music: ANDERSON x CCRMA: Sound Happenings, April 23rd 2019, Anderson Collection at Stanford University

A 30 minute set featuring another appearance of El Dinosaurio, this time with a short fun introduction performed with my Noise Toaster and an inspiring background of amazing works of art at the Anderson Collection. This was another re-interpretation of Dinosaur Skin, my piece for analog synthesizer, computer processing (16 loops and other stuff) and full 3D spatialization.

Music: "Pia[NOT] Etude", February 2nd 2019, Bing Concert Hall, Stanford

Another piece composed in the "Weathered Pianos" universe, sharing sonic materials with Y Sonó Como Arpa Vieja. Like the previous piece, it is rendered on two layers of Ambisonics full 3D spatialization, and all the sound materials were recorded using 1st and 2nd order Ambisonics microphones I built (see my SpHEAR project). Premiered in the second night of The Lord of the Bings: The Fellowship of the Bing concerts, Bing Concert Hall, Stanford.

Trylleformler Concert, May 5th, 2018, Oslo, Norway

A performance of Y Sonó Como Arpa Vieja, concert organized and curated by Natasha Barrett.

Music: "The Miraculous Multiplication of Strings", November 28th 2017, Stage Concert Hall, CCRMA, Stanford

New music for cello and electronics, thanks to a collaboration with Séverine Ballon.

Cello sounds with extended techniques were recorded using my DIY Ambisonics microphones and were piped through the skeleton, soundboard and open strings of an old piano. An electronic score written in SuperCollider is merged with live cello playback from Séverine, which is also processed in real-time using a convolution reverb derived from the soundboard and open string response of the piano.

Music: "Y Sonó Como Arpa Vieja"

A new piece premiered in the newly renovated diffusion system in our Stage in The Knoll at Stanford (Transitions concert, Oct 4 2017). Composed using sound recorded from the skeletons of two pianos, it is spatialized in 5th and 2nd order Ambisonics layers. All sounds were recorded using 1st and 2nd order Ambisonics microphones I built (see my SpHEAR project and the final result was rendered in our new 3D 56.8 system.

Searching for the GRAIL
An article about the GRAIL (the Giant Radial Array for Immersive Listening - our concert speaker array) is included in the Winter 2016 issue of the Computer Music Journal, the first of two issues on the topic of HDLAs - High Density Loudspeaker Arrays).
Icons of Sound: Hagia Sophia Reimagined November 4th 2016, Bing Concert Hall, Stanford University

A virtual journey to Hagia Sophia, Constantinople's Great Church, when the renowned choir Cappella Romana returns to the Bing to continue its collaboration with Stanford's Center for Computer Research in Music and Acoustics (CCRMA) and its Art and Art History department.

The GRAIL renders again the acoustics of Hagia Sophia in real-time, with 15 singers of the Cappella Romana group on stage. A redesigned reverberation architecture with new impulse responses created and tuned by Jonathan Abel, Francois Germain and Elliot Kermit-Canfield (based on new measurements of the space), worked together to render a breathtaking virtual space filled with the echoes of Bizantine chanting.

Transitions 2016 October 5/6th 2016, Stage at CCRMA, Stanford University

Two evenings of new and not so new computer music works diffused through the GRAIL in our Stage, this time with a 18 + 8 + 8 array of speakers. I performed a newly rendered version of iICEsCcRrEeAaMm, with new CLM code creating a freshly minted 4th order Ambisonics version.

Cube Fest 2016 August 5th / 7th 2016, Moss Art Center, Virginia Tech University

A performance of Space, S[acred|ecular] on the "Sounds in Space I: First Wave" concert on August 6th in the Cube and Perform Studio.

AES Sound Field Control International Conference July 18/20 2016, Guildford, England

A new paper, The *SpHEAR project, a family of parametric 3D printed soundfield microphone arrays (regretfully I was unable to attend the conference).

Sound Symposium 2016 July 8th / 16th 2016, Saint John's, Newfoundland, Canada

First GRAIL deployment outside Stanford with a full concert on Tuesday July 12th ("An Evening with the (CCRMA) GRAIL: 3D Surround Sound"), 14.1 system in full 3D. Read this flattering review of the concert by Sara Pun.

Another great (possibly the best so far) performance of Vox Voxel, together with John Granzow, rendered through two 3D printers with a new 3D "score".

I also performed together with Chris Chafe and John Granzow as part of the Trio Esqueleto ensemble.

A new "piece", "Machimato", was also performed by Chris Chafe and yours truly. Machimato is a "collision piece" created by simultaneous playback and crossfade of two completely separate pieces, Tomato Music by Chris Chafe and The Mysterious and Hidden Machinery of Sound by Fernando Lopez-Lezcano (hence the name of the piece). With a live performance of Chris Chafe on celletto and live mixdown (dj'ing?) by Fernando Lopez-Lezcano. Last but not least another "piece", this one part of the Harbour Symphony series, Harbor Mayhem for Seven Horns and a Backhoe - a score for seven ship horns at the St. John's harbor (there was a different piece being played at noon every day).

Speculations in Sound 2016 May 6th to 8th 2016, CeReNeM, the Centre for Research in New Music, University of Huddersfield, England

I had the opportunity to participate in "Speculations in Sound", meeting and talking to many gurus of spatial sound - a lot of people using way too many speakers to diffuse sound and music. Kitchen Miniatures was diffused in the May 6th concert at SARC's Sonic Laboratory.

From left to right: Alex Harker, Jøran Rudi (back), Eric Lyon, Notto Thelle, David Pirrò, Michael Alcorn, Ludger Brummer, Robert Normandeau, Gary Kendall, Natasha Barrett, Frédéric Dufeu, Trevor Agus, Michael Clark, Hans Tutshku, Markus Noisternig, Hyunkook Lee, William Brunson, yours truly, Barry Truax (details about everyone can be found here)

BEAST: FEaST 2016 April 28-30 2016, Birmingham, England

A performance of Space, S[acred|ecular] on Thursday April 28 in the Dome Room, new re-rendered version in 5th order Ambisonics.

In the Cage of the Beast:

Scott Wilson took this picture and wrote: "Fernando Lopez-Lezcano is declared an honorary BEASTie after helping with the derig", it was an honor to help...

The Electric Space Series concert no.4 March 8th 2016, Oslo, Norway

Premiere of a new version of Space, S[acred|ecular], this time rendered in 5th order Ambisonics (as opposed to the original 3rd order rendering). Concert organized and curated by Natasha Barrett.

Electronic Music Week 2015 October 18-24 2015, Shangai, China

A lecture about "High Order Ambisonics, generating and diffusing full surround 3D soundfields". New versions of Vox Voxel (together with John Granzow) and Divertimento de Cocina in Friday's concert.

Transitions 2015, September 30, CCRMA, Stanford

Another performance of Un Esqueleto en la Cocina (A Skeleton in the Kitchen). This time in the aptly renamed "Precipitations" concerts (our outdoor concerts that had to be held indoors this time because of unexpected but welcome rain)

CICTEM 2015, September 17-20 2015, Universidad del Arte, Buenos Aires

First performance of Un Esqueleto en la Cocina, a piece for improvised celleto (played by Chris Chafe) and electronics, played by yours truly. The electronic part is the universe of sounds of Divertimento de Cocina, thus the title.

Vox Voxel @ Noisebridge, June 13 2015, Noisebridge, San Francisco

Another performance of Vox Voxel together with John Granzow, this time at Noisebridge in San Francisco.

CCRMA Spring Concert, May 21st 2015, Bing Studio, Stanford

Space, S[acred|ecular], world premiere of a piece composed at ZKM in 2014 and finished at CCRMA and in my home studio. Staged in Hagia Sophia.

LAC 2015 and Ping, April 9-12 2015, Johannes Gutenberg University Mainz, Germany

This year I had to miss LAC 2015, I was teaching and had a special guest lecturer (Hans Tutschku) on that very same week. But Ping did not miss it and he was even part of the keynote address!

A Supersonic Bing Thing: CCRMA in the Bing Studio, Stanford, Bing Studio, March 14 2015

A performance of a new version of The Hidden and Mysterious Machinery of Sound, this time rendered if full 3D 3rd order Ambisonics using the Stanford GRAIL.

The San Francisco Tape Music Festival 2015, San Francisco, January 9th 2015

World premiere of The Hidden and Mysterious Machinery of Sound, an 11 minute piece composed for the San Francisco Tape Music Festival 2015.

News: Fernando Lopez-Lezcano to receive 2014 Marsh O'Neill Award

Read this very nice article in the Stanford News about my award...

The picture on the left was taken at the award ceremony and reception on December 3rd 2014 (with Dr. Ann Arvin, Vice Provost and Dean of Research at Stanford)

Workshop: Técnicas de Espacialización y Difusión en Composición Electroacústica, 1º Congreso Internacional de Artes, Revueltas del Arte, Buenos Aires, Argentina, 2014

Spatialization and Diffusion Techniques in Electroacoustic Music Composition, a three day workshop on techniques for diffusion and spatializacion in electrouacoustic music.

Curator: 40, 50, 80 - CCRMA en Montevideo, Montevideo, Uruguay, Nov 11 2014

A multichannel concert I curated (8 channel full surround) in the "Sala de Conferencias" of the Solís Theater in Montevideo, Uruguay. The concert setup and calibration session was also part of the Herramientas de Software Libre para la Espacializacón de Sonido (Free Software Tools for Sound Spatialization) workshop.

Workshop: Herramientas de Software Libre para la Espacializacón de Sonido (Free Software Tools for Sound Spatialization), Estudio de Música Electroacústica, Escuela Universitaria de Música, Montevideo, Uruguay, 2014

I have been awarded this year's (2014) Marsh O'Neil For Exceptional and Enduring Support of Stanford University's Research Enterprise

The Marsh O'Neill Award presents one of the few opportunities for faculty to acknowledge publicly the support of outstanding staff members who support their research activity. In recognition of faculty appreciation for outstanding contributions to Stanford's research mission, this award is made annually to a member of the University's Staff or Academic Staff. This prestigious award was inspired by the extraordinary career of Marsh O'Neill, Associate Director of the W.W. Hansen Laboratories, 1952 - 1990. Marsh was the first recipient of this award.

Triple CCRMAlite: 40, 50, 80, Stanford, October 26-27 2014

A new piece dedicated to John Chowning (Modulate me, please?) in two flavours, a 30 second Miniature (part of the Miniature Mix played in the Bing Concert Hall on Sunday October 26th), and then a full length 3 minute version played in realtime in the Stage Concert the following Monday. Two TX816's working in tandem with stock patches and feeding 16 speakers independently in both cases.

I also participated in the Symposium with a talk titled "" (yes, that is an empty title). I talked about talks I could have talked about if I had had time to prepare the talk, ha ha. The titles could have been "Skeletons in the Closet" or "Servers I Have Served, A Biblical Story" or "The Rise and Fall of the Server Empire", if I had talked about servers, or "The Keepers of the Sacred Flame" if I had talked about SysAdmins, or "The NeXT BIG thing" if I had talked about the NeXTs, or "SGI Workstations" if I had talked about those, or "The Rise and Fall of the Penguin Empire" if I had talked about Linux, or even "Small Things are Beautiful" if I had talked about iThings and Androids. I could have also talked about "Now and Then", comparing similar pieces of equipment from 1993 and 2014 (which I did for a bit). But I just played a very old video I took of a CCRMA Tour in 1991, led by Chris Chafe... it was a lot of fun.

Audio Engineering Society Convention, Los Angeles, USA, Oct 9-12 2014

A new paper ("An Architecture for Reverberation in High Order Ambisonics") presenting the reverberation architecture implemented in HOA (High Order Ambisonics) for my "Space:S[ecular|acred]" piece

ICMC / SMC 2014 (International Computer Music Conference, Sound and Music Conference), Athens, Greece, Sep 14-20 2014

I had two performances and one paper in one of the poster sessions:

Together with John Granzow we played another rendition of "Vox Voxel" in the Tuesday September 16 2014 concert at the Onassis Cultural Center Upper hall. This piece was the first piece in a concert otherwise dedicated to "flute and electronics" pieces. I guess it was hard to classify. The 3D printer made it all the way there thanks to John, and back to California!

My piece "Divertimento de Cocina" was played in the Monday September 15 2014 concert at the Onassis Cultural Center Upper hall.

My paper Towards Open 3D Sound Diffusion Systems was presented in the Poster Session on September 18 2014.

Multi concert series 2014 Lydgalleriet & BEK presents: An ambisonics concert feat, June 26 2014, Bergen, Germany

Velvet Skin, Heart of Steel was featured in the June 26th concert curated by Natasha Barret.

Shanghai Tour, Shanghai, China, May 18-26 2014

John Chowning, Chris Chafe and myself spent a week in Shanghai as guests of the Shanghai Conservatory of Music. Chris and John gave lectures on May 19th and 20th and we played several pieces in a concert on May 21st (including Divertimento de Cocina and A Very Fractal Cat). We also visited the School of Electronics of the Information and Electrical Engineering of Shanghai Jiatong University

Residency at ZKM, Karlsruhe, Germany, May 5-12 2014

A very intense week composing a new 3D piece (Space, S[acred|ecular]) in the Klangdome in the Kubus at ZKM. A week is a very short time...

LAC 2014 (Linux Audio Conference 2014) at ZKM, Karlsruhe, Germany, May 1-4 2014

As usual intense days of paper sessions, workshops, concerts, installations, wine, food and friends. Go to its web site and check out the pdf papers and archived videos of all presentations (Yet again Ping was there and made new friends).

My piece "Divertimento de Cocina" was played in the Saturday concert in the ZKM Kubus Concert Hall

Here's a link to an interview published at Zthmusic...

"Vexations [Re-vex'ed] II 2014", two sets at the 22-hour improv marathon on a theme by Satie, March 22/23 2014, Berkeley Arts, Berkeley

Participated in the 22 hour marathon with two 1/2 hour sets (at 6:30pm and 9:30pm) using "El Dinosaurio" augmented by computer.

CCRMA Winter Concert, March 14 2014, Bing Studio, Stanford

Vox Voxel, a piece for 3D printer and realtime sound processing (co-composed and performed with John Granzow).

CCRMA Fall Concert, December 4 2013, Bing Concert Hall, Stanford

Toast and Jam, a directed improvisation and first performance of the Ensemble AnaLocos, featuring 6 players with Noise Toaster analog synthesizers plus the El Dinosaurio modular.

(picture thanks to Ge Wang)

Remote Control by Chris Chafe. Participated in the ensemble together with Chris Chafe (celletto) and Rob Hamilton (processed electric guitar). I was playing processed sampled pianos.

CODAME ART+TECH: 5ENSES, November 1-2 2013, San Francisco

A full one hour set which I shared with Bruno Ruviaro, I played a version of "Divertimento de Cocina" (the full CCRMA team at 5ENSES)

Electronic Music Week 2013 October 19-25 2013, Shangai, China

I participated with a talk and 3D sound demonstration in the International Forum "Soundscapes - 3D Sound": Towards open 3D multichannel sound diffusion systems (pdf slides). This also involved a demo of some 3D pieces in the afternoon exhibition session

CICTeM 2013 September 24-26 2013, Buenos Aires, Argentina

Friday Sep 27th @ 6pm: Un Gato Muy Fractal y PadMaster, una Pieza y su Programa de Control, a talk about A Very Fractal Cat and its control program, PadMaster.

Saturday Sep 28th @ 12pm: Hacia Sistemas de Difusión Multicanal Abiertos.

Saturday Sep 28th @ 6pm - concert (CANCELLED): Un Gato Muy Fractal (regretfully my father got ill and I could not participate in the concert).

Semana del Sonido (The Week of Sound), August 20-24 2013, La Plata, Argentina

Kitchen Miniatures was featured in the "Sintesis Espacial de Sonido" (Spatial Synthesis of Sound) permanent exhibition in the University of Quilmes, as part of the "Semana del Sonido". The diffusion used an 8 speaker ring plus subwoofers. You can see pictures here

Outsound New Music Summit, July 21-27 2013, San Francisco

Monday 21st @ 7pm: Touch the Gear Exposition, El Dinosaurio was visiting and making noises, lots of amazing stuff to see, hear and touch.

Tuesday 22nd @ 7pm: I'll be participating in the Composers Symposium

Thursday 25nd @ 8:15pm: Vibration Hackers Concert, featuring the latest rendering of "Knock knock... anybody there?" (take a look at my "In the field with Fernando Lopez-Lezcano" interview - the intro music is a fragment of Dinosaur at War for three geographically disperse synthesizers). More juicy details in Joe Lasquo's Blog, (review)

"LAC 2013 (Linux Audio Conference 2013) at IEM", IEM, Graz, Austria, May 9-12 2013

Another year, another LAC. Intense days of paper sessions, workshops, concerts, installations, wine, food and friends. If you missed it go to its web site and check out the pdf papers and archived videos of all presentations (Ping was there and made new friends, as usual). Here's the LAC crowd just after the closing ceremony:

Check out my new paper, Byzantium in Bing: Live Virtual Acoustics Employing Free Software for how we transformed the newly inaugurated Bing Concert Hall into Hagia Sophia

My piece "Velvet Skin, Heart of Steel" was played in the Friday concert in the Mumuth Concert Hall

"Divertimento de Cocina", Modulations 2013, April 6/7 2013, Broadway Studios, San Francisco

This new piece uses SuperCollider to orchestrate a wild band of kitchen utensils. A Novation LaunchPad controller and a custom class written in SuperCollider enabled me to start, pause and stop multiple rhythmic "performers" during a 10 minute set on both nights of the Modulations concerts. Sounds were diffused using Ambisonics over an 8.4 surround speaker system.

"Vexations [Re-vex'ed] 2013", two sets at the 22-hour improv marathon on a theme by Satie, March 23/24 2013, Berkeley Arts, Berkeley

Participated in the 22 hour marathon with two 1/2 hour sets (at 6pm and 10pm) using "El Dinosaurio" augmented by computer.

"Velvet Skin, Heart of Steel", Sonic Boom! concert, March 16 2013, Bing Concert Hall, Stanford University

A new 3D rendered computer music piece, premiered in the Sonic Boom! Bing concert using our 24.6 3D diffusion system.

From Constantinople to California, February 1st, 2013, Bing Concert Hall, Stanford University

I provided the 3D 24.6 surround diffusion system installed at Bing for this event and also the computer system infrastructure for a live simulation of the Hagia Sophia dome at Istambul. The system provided a real-time auralization of Hagia Sophia for the second part of the concert.

Curated the Sonic Boom! concert, March 16 2013, Bing Concert Hall, Stanford University

In the context of CCRMA at Bing's Festival, Saturday night's concert was a curated program will feature multichannel pieces using the full potential of our 24.6 channel immersive surround sound system. Music and performances by Jonathan Berger, Michael Berger, Chris Chafe, Jonathan Harvey, Fernando Lopez-Lezcano, Hans Tutshku and more... The concert included the diffusion of the complete 8 channel version of Jonathan Harvey's electronic masterpiece "Mortuos Plango Vivos Voco". Jonathan Harvey passed away recently and he is missed and remembered fondly by everyone who met him (he taught composition at the Music Department and CCRMA between 1995 and 2000). The concert started with a solo boombox on stage playing Max Matthew's 1961 computer rendition of "A bicycle built for two" (complete program [pdf]).

"Fugue 1 (Fanfare)", Bing Concert Hall Opening Night, Jan 11 2013, Bing Concert Hall, Stanford University

Co-composed with Chris Chafe (CCRMA's Director), this three minute piece opened the first official concert at the brand new Bing Concert Hall Opening Weekend (see concert program notes here. We used a scaled down speaker array to diffuse this 12 channel piece.

Chris Chafe wrote: Our opening music heralds the variety of music to come in this concert hall: a mix of fresh music from freshmen to PhD's composed during Fall term and representing Mexico, France, China, and the USA which are melded with acoustic and computer-based compositions by faculty and visiting artists. Also in the mix are live sounds of White Plaza at Big Game time, "vibration tests" from banging on Bing Hall itself before and after completion, and Morse Code renditions of Peter Bing's Family name played by Canada's largest ice breaker, St. Johns Harbour, Newfoundland.

Article in the San Francisco Chronicle: Diverse show opens Stanford's Bing Hall

"A Very Fractal Cat", CCRMA Fall Concert, November 29th, 2012

"A Very Fractal Cat" was performed at the 2012 CCRMA Fall Concert on November 29th 2012, see complete program here.

Curated the Transitions: Soundscapes under the stars concert, September 27th 2012, CCRMA Courtyard

A night of spatial sound with our upgraded 24.4 sound system. The program featured multichannel pieces unlocking the full potential of our 24 channel immersive outdoors surround sound system. Music and performances by Jonathan Abel / Bissera Pentcheva, Chris Chafe, Jonathan Berger, Fernando Lopez-Lezcano, Ake Parmerud, Bill Schottstaedt and John Kocolas / Konstantine Salmas. See the full program

The concert featured a newly re-rendered version of my Knock knock, anybody there? piece.

"LAC 2012 (Linux Audio Conference 2012)", CCRMA, April 12-15 2012

I had the pleasure of organizing this year's Linux Audio Conference together with Bruno Ruviaro (and the help of many others!). Four very intense days of paper sessions, workshops, concerts and installations. If you missed it go to its web site and check out the pdf papers and archived videos of all presentations. Here's the LAC crowd just after Dave Phillip's keynote address:

Check out my new paper, From Jack to UDP packets to sound, and back (video available from the LAC 2012 Site). Is this a 32 channel USB2 soundcard?

"Jurassic Modulations" in the CCRMA Winter Concert, February 24th 2012

Live improvisation performed together with Kurt Werner, full 16 channels 3D sound in the CCRMA Stage.

"Earth Songs", Transitions Night 2, September 29th 2011, CCRMA Courtyard

New version of Earth Songs rendered to our new 16.4 3D outdoor sound system.

Curated the Transitions: Acousmatic: Soundscapes under the stars concert, September 28th 2011, CCRMA Courtyard

A night of spatial sound with our new 16.4 3D outdoors sound system, featuring pieces by Jonty Harrison, John Chowning, Giles Gobeil, Fernando Lopez-Lezcano, Hans Tutschku, Jonathan Abel / Bissera Pentcheva and Åke Parmerud. From 4 channel classics to brand new pieces using up to 48 channel spatialized 3D sound. The sound was diffused with a custom system based on SuperCollider, Ardour and Ambdec running on a remoted Linux workstation and using a Network Sound ethernet driven 32 channel D/A converter box. See the full program

5 speakers of the upper ring were installed in The Knoll balconies, the other 3 in very tall stands in the back of the backyard

"Earth Songs" @ Composing for Large Scale Multi-Channel Loudspeaker Environments, June 5th - 10th 2011

Attended a workshop taught by Hans Tutschku at EMPAC and worked on a new expanded version of Earth Songs, which was presented in concert at the end of the workshop (Studio One was fitted with a 24 channel sound system for the workshop).

"Espresso Machine II" and "House of Mirrors" revisited

Two old pieces written for PadMaster and using the Radio Drum as a 3D controller, played in memory of Max Mathews (after a lot of digging around for old hardware, custom software, synthesizer presets, old NeXT computers, etc). "Espresso Machine II" was played in the Spring Concert of the Stanford Symphonic Orchestra, May 28th 2011 (Chris Chafe on Celleto), House of Mirrors was played in the Max Mathew's Celebration at CCRMA, May 29th, 2011.

"A Very Fractal Cat: of Cats, performers, composers and programmers", an article published in eContact! 13.2

A description of what makes the Cat pieces tick (or is it miaou?)... Focused in the motivations for creating them and a description of their evolution.

"Earth Songs" at LAC2011

"Earth Songs" first performance at the 2011 Linux Audio Conference in NUI Maynooth, Ireland, May 7th 2011.

"El Dinosaurio" at the DIY Musical Instrument Tailgate Party

El Dinosaurio visited Trimpin's DIY Instrument Party at Stanford. In the picture I'm sharing music and sound textures with Chas Smith.

"Dinosaur Skin" at CCRMA's Modulations 2011

A shorter (approximately 20 minutes long) version of Dinosaur Skin performed at the CCRMA Modulations 2001 concert, April 2nd 2011

"Quest" at the CCRMA Winter Concert 2011

A new version of Quest, a piece I composed in 1986 with a CZ101, a Commodore 64 and two tape decks. The version played in concert on February 17th, 2011, is based on the original first generation dBxI tapes recorded in my home studio (the piece was later re-recorded at LIPM). The original tapes were digitalized and spatialized using Ardour and Ambisonics. "Quest", the "Composer's Mix".

"Dinosaur Skin" at the CCRMA Fall Concert - a Cagean Musicircus

"Dinosaur Skin" is a new piece for "El Dinosaurio" and live electronics, it was performed as a special two hour live performance in CCRMA's Music Circus 2010, November 18th 2010

Spatial Sound workshop at GAFFTA

Four intensive classes on Spatial Sound using SuperCollider. Theory, practice, musical examples played in a ring of 8 speakers (web site hosted at CCRMA. November 2/4, 8/10 2010

SuperCollider Symposium 2010

"A Very Fractal Cat" was performed in the first Kl. Wasserspeicher Concert on September 24th. The talk "CatMaster and “A Very Fractal Cat”, a piece and its software" was also part of the conference

"Un Gato muy Fractal" @ LIPM

A performance of "Un Gato muy Fractal" and a subsequent talk about the piece and its software at LIPM, Centro Cultural Recoleta, Buenos Aires, August 27th 2010 at 7pm


Participated in the FLAMUC talks (with "Software libre para música y sonido: Planet CCRMA y otros mundos") and played "Un Gato Muy Fractal" ("A Very Fractal Cat") in the Thursday concert.

Sound in Space Concert

Students from the 154 and 222 courses finished the quarter with a concert in the CCRMA Stage.

"A Very Fractal Cat, Somewhat T[h]rilled" at LAC2010

On May 3rd 2010 at the Kikker Theater in the context of the Linux Audio Conference (LAC) 2010

"A Very Fractal Cat, Somewhat T[h]rilled" at Modulations

Performed at CCRMA's Modulations 2.2 Event on April 17th 2010

Sound in Space Course

I'm currently teaching a new course at CCRMA, "Sound in Space" or Music222 (historical background, techniques and theory on the use of space in music composition and diffusion, listening and analysis of relevant pieces, experimental work in spatialization techniques). If you are a CCRMA user you can browse the course materials.

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