Sonochrome I

Sonochrome I (2019) A “video music” art work first screened at the “Seensound” event in October at the Loop Project Space in Melbourne. This piece continues my work using music to activate moving imagery using the visual programming language Max/MSP/Jitter to create the images and sound, which then interact with each other.

Sonochrome I Excerpt from David Hirst on Vimeo.

Schaeffer GRM and NES-Tools

My article “Schaeffer, GRM and Their Influence on NES-Tools For Max”. Has now been published in the Proceedings of the Australasian Computer Music Association, Melbourne, Victoria. pp 15-22. You can download a copy here. Get the free NES-Tools for Max software from my software page.

NES-Spectrale Article now published

My article “NES-Spectrale: A Suite of Max Tools for Processing in the Frequency Domain”. Has now been published in the Proceedings of the Australasian Computer Music Association, Melbourne, Victoria. pp 9-14. You can download a copy here. Access the free associated software from my software page.

The Portuguese Suite

The 8 channel version of my electroacoutic music piece The Portuguese Suite was performed at the Australasian Computer Music Conference held in Melbourne in July 2019 in conjunction with the 2019 TENOR Conference at Monash University. You can listen to a stereo version on Soundcloud here.

The Portuguese Suite follows on from the piece Imaginação de Viseu (Imaginations of Viseu) which was composed for the project: SONIC EXPLORATIONS OF A RURAL ARCHIVE – Electroacoustic Music and Sound Art International Competition, coordinated by Binaural/Nodar (Portugal). That work used sound sources recorded in the rural region of Viseu Dão Lafões in Portugal. The Portuguese Suite takes some of the sounds from the previous piece and processes them into purely abstract sounds using two suites of tools I developed in 2017 for Max/MSP. The first suite of tools is called NES-Tools, and processes sound in the time domain. The second suite of tools, NES-Spectrale, processes the frequency domain representation, and builds on the work of Jean-François Charles (2011). This version has been especially mixed and mastered for  8 channels using the Ambisonics Toolkit (ATK) from the University of Washington.