Achievements

I feel Cosmos is a milestone in my work as a composer, as through it I have realized several creative goals, which in turn have prepared the ground for an entirely new phase of my output. These creative goals can be summarized:

• The development and realization of a certain sound/style, exploring the rich potential of electronic timbre by embodying natural (and subjective) human qualities, such as beauty, power, emotion, love, dynamism, etc. The principles of this approach are not new to my work, but the intensity and urgency with which they are at times conveyed, I feel surpasses everything in my output to date.
• A holistic approach to timbral production, by which voices are designed both as individual entities, as well as within the context of every other simultaneously sounding voice. Achieving this required acute attention to intonation and spectrum, resulting in precisely tuned pitch and filter settings.
• The acquisition, development, and realization, of a system (hardware and software) which enables me to become the solo performer of my own work. While it is my intention to include other artists in future projects, it is most important for me not to become dependent on anything other than my own resources for the performance of my music.
• The inclusion and integration of a range of musical influences, which extend beyond the realms of the European 'classical' tradition.

Future Explorations

While Cosmos draws upon a fairly wide range of synthesis techniques and timbres, there is still plenty left to explore within my present system. For example, the only sampled sounds employed in Cosmos are the percussion sounds which take advantage of the E4k filters. This leaves a whole area ripe for exploration, namely the recording of sounds for subsequent sampling and processing. I also purchased a portable DAT (Digital Audio Tape) recorder, and I am particularly interested in recording the sounds of different environments (mainly natural ones), and using them in evocative and unusual ways. Another area awaiting exploration, is the dynamic modification - and radio baton controlled modulation - of sound processing effects (such as reverberation, echo, etc.). I experimented with techniques such as dramatic alterations to reverberation settings, conveying the effect of changing the environment within which the sound is being heard. This is all possible through the MIDI hardware in my system, but although engaging by nature, this effect did not seem appropriate to Cosmos.

Equipment Shortcomings

While in general, I am extremely happy with the equipment purchased for this project, one synthesizer device, the Yamaha TG77, has a shortcoming which has caused me to spend a disproportionate amount of time on voice editing. Specifically, the problem is that voices can only be edited while the device is in one of its two basic modes, 'voice' and 'multi'. Whereas, on both the OB-Mx and E4k, individual voices can be edited with ease while the device is playing multiple voices. The reason why this is an important feature is because very often fine adjustments to timbre, envelope, or other synthesis parameters, need to be made within the context of the overall sound, and the capability of being able to select and edit arbitrary groupings of voices - from the individual to the whole is essential to carry out this task.

MIDI may have its detractors among the software synthesis fraternity, but no other system known to me has the ability to 'zoom in' and edit any individual synthesis parameter in realtime, while the music is playing. And only through this capability is the holistic approach to timbre which I have achieved in this composition, possible.

Closing Remarks

In concluding, I would like to express my gratitude to those who have directly made this composition possible. Notably, my grandparents, with whose money I was able to buy the equipment which comprises my system; and the music department of Stanford University, for providing me with the necessary time and space required to accomplish the work.