Friday 24th October 2014
20:30 h Opening Concert at the Islington Mill Club
  Live Performances by John Chantler / Lu Katavist / Richard Scott (NOVARS/ Basic Electricity)

"For the opening night of Sines & Squares… Open-Circuit & Novars Research Centre present an evening of live electronic music from three diverse artists currently exploring the modular synthesiser as there main performance tool…

John Chantler

John Chantler (ROOM40) Works primarily with modular synthesizer systems and has presented his work in USA, Canada, Australia, New Zealand, Japan and across Europe. His own take on generative minimalism and surface stasis can be heard on his 'Automatic Music' series as well as his latest release 'Even Clean Hands Damage The Work'. “A highly synthetic, highly textural, yet deeply melodic work of experimental electronics that seemingly crosses the divide between nature and electricity.” John is also producer at London’s Cafe OTO and is responsible for programming the venue’s internationally renowned concerts.

Lu Katavist

Cologne based Lu Katavist (Smalldeath) focuses on improvised live-electronics, controlling a modular system with the Haken Continuum Fingerboard. His work which can be heard on his ‘Retoxis’ LP, ranges from tonal drones to twitchy noise bursts, with sounds drifting between ethereal pads, piercing distortion, chirping delay and rumbling bass, but overall it makes for a calm, if not meditative listening experience.

Richard Scott

Richard Scott is an electroacoustic composer and free improvising musician working with analogue modular synthesizers and alternative controllers such as his own self-designed WiGi infra red controller developed at STEIM, the Buchla Thunder and Buchla Lightning. He has been composing and performing improvised music for over 25 years, recently performing with artists such as Evan Parker, Jon Rose, Richard Barrett, Thomas Lehn, Twinkle3, Axel Dörner, Michael Vorfeld, Helmut Lemke, Ute Wasserman, David Birchall, Emilio Gordoa, and Grutronic.

 The Martin Harris Centre for Music and Drama
Saturday 25th October 2014

Ongoing Installation (Oculus Rift 2)

Manusamo & Bzika (Oculus Rift2 "Putney potentiometer" and Augmented Reality app)

Manusamo & Bzika are an interdisciplinary group created by Manuel Ferrer Hernandéz (visual artist) y Alena Mesarosova (architect) and focused on the creation of interactive installations involving the use of Augmented Reality (AR) and 3D modelling. Started in 2006, the group has produced AR creative work for numerous festivals and projects in Slovakia, Italy, Spain and Portugal. Manuel Ferrer holds a Fine Arts degree by Miguel Hernández Univeristy, Alicante and a Master in Fine Arts by the Polytechnic University of Valencia where he is currently pursuing a PhD. He has lectured at San Gregorio de Portoviejo University, Manabí. Ecuador. Alena holds a degree in Ingenier-Architecture (Inzinier architekt) at the Fakulta Umení, Technická Univerzita v Košiciach, Eslovaquia as well as the Bachelor (Bakalár). She also graduated from the Curso del bienio especialistico de scenografia en la Accademia di Belli Arti Catania ,Sicilia-Italia and is currently pursuing PhD at the Polytechnic University of Valencia.

ARPutney Manusamo & Bzika
Download Augmented Reality App
Google Play (Android):

18.00 - 19.00 CONCERT ONE (Thaw)

  Place: John Thaw Studio Theatre (Martin Harris Centre)
  "Live Improvisation & Diffusion (Hordijk synth + computer)" by Sam Weaver and Danny Saul
   "Undular" by Caterina Barbieri. 8 channels surround
   "Improvisation for Coupled Modular Synth & Computer" by John Macedo.
   "Phoenix" by Robert Ratcliffe. ca. Fixed Media
   "Improvisation with Eurorack in 8 channels" by Jo Hyde.

Sam Weaver and Danny Saul

Sam Weaver one half of London outfit Hungryghost, is a sound engineer, electronic musician and improviser working predominantly with modular analog devices. He has recently recorded and performed with Charles Hayward, Gnod and performed along side Kevin Drumm. With his knowledge of building synthesizers Sam has recently formed Open-Circuit a new Manchester based project exploring the field of circuit bending and musical electronicswith with the aim of bringing together an ever growing community of makers, hackers, artists & engineers who have a DIY mindset towards technology, creating an open network and body of knowledge through education and public events, such as workshops and concerts.
Danny Saul is an electroacoustic composer from Manchester, UK. His interests are acousmatic composition, space, sound diffusion, and live electronics. His work has included collaborations, performances and recordings with notable contemporary experimental musicians including Ben Frost, Machinefabriek, Greg Haines, Jasper TX, Xela and Simon Scott. Danny has played throughout the UK, Europe, U.S.A and Japan. He has to date released two solo albums, Harsh, Final. (White Box, 2009), and Kinison – Goldthwait (Hibernate Recordings, 2010). He is currently pursuing a PhD under the supervision of Professor David Berezan at the NOVARS Research Centre for Electroacoustic Composition, University of Manchester.

Caterina Barbieri

STIM: Swedish International Society of Composers
Caterina Barbieri (b.1990, Bologna, Italy) is a composer and performer of electroacoustic music.
 Mostly interested in modular synthesis, three-dimensional spatialisation and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms, microtonality and the polyrhythm of harmonics, on the boundary between drone, minimalism and techno in multichannel systems.
Her minimalistic focus is rooted in the exploration of the stratigraphic potential of voltage-controlled synthesizers, in terms of polyrhythm and polyphony. 
Synthesis, texture-based forms and immersive listening are three fundamental conditions for her to enhance an advanced cognitive and auditory art, not based on extrinsic links but solely built on the experience of the spectrum, able to develop our very limited ability of perceiving the vertical domain of music, involving us in a holistic way.
She holds a diploma in classical guitar and a bachelor’s degree in electroacoustic music from the Conservatory of Bologna, Italy (plus an exchange programme at the Royal University of Music in Stockholm, Sweden) with a thesis on Ambisonics and the perception of time, space and sound spectrum in vertical music.
 She’s currently finishing a bachelor’s degree in the Faculty of Humanities and Philosophy of Bologna, with a thesis about psychoacoustics and modality in dhrupad music.
She’s active as audiovisual artist, acousmatic composer, guitarist and music teacher, living between Bologna and Stockholm. Her work has been commissioned and performed in festivals and venues of experimental music in Europe, such us Norbergfestival, Suona Francese, De Monfort University, Angelica, Stockholm Music and Arts, Sound Of Stockholm.
Her debut album Vertical will be released on the american label Important Records/Cassauna in September 2014.
The album, composed and produced in Stockholm at the Elektronmusikstudion (EMS), is entirely based on Buchla Modular Synthesizer sounds and vocals.
Her slow wave solo project Morbida will be released in Autumn 2014 on the swedish label Oma333.
She’s also member of the neo psych wave quintet S.W.G, whose debut album will be released on the ialian label Trovarobato in winter 2014.

John Macedo

John Macedo (b. 1983) is a sound artist from London. Over the past 10 years he has incorporated everything from acoustic instruments and environmental sound, to analogue and digital synthesis, into compositions, live performances and sound installations. He has a pluralistic approach which focuses on revealing and presenting the creative and musical potential in all sounds, objects and technologies. Through the use of uncertainty, improvisation, self-generating systems, and audience interaction, he attempts to blur the lines between composer/performer/listener, and draw connections between apparently disparate and conflicting forms, practices, and conventions. His work is concerned with presenting sound as a tangible experience, often in intimate, immersive and intuitive ways. This encourages a deep participation and liveliness in the present moment and highlights the contingent and ephemeral nature of sound in space. John has a first class degree in Sonic Arts from Middlesex University and in 2013 completed a MMus in Studio Composition at Goldsmiths, University of London, receiving a Distinction. His academic work included writings, compositions and performances exploring spectral composition techniques, organic and self-generating systems, silence and sound in space, perception and expectation in music, and chaotic and nonlinear methods of digital and analogue synthesis. He is an active member of London’s experimental electronic and improvised music communities and has performed solo and in collaboration with other musicians at Cafe OTO, ICA, Whitechapel Gallery, Kings Place, and Hundred Years Gallery, to name a few. In June 2013 he was artist-in-residence at WORM Studio in Rotterdam, where he worked with their extensive collection of vintage analogue synthesizers such as the ARP 2500 and 2600, a vintage Serge Modular System, the EMS VCS3 and more. He has published works on Sound Holes, Beartown Records, Eyes of Sound, and his own imprint, The Black Plume Editions.

Robert Ratcliffe

Robert Ratcliffe is an internationally recognised composer, sonic artist, EDM musicologist and performer. He completed a PhD in composition and musicology funded by the Arts and Humanities Research Council at Keele University, UK. He has developed a hybrid musical language and compositional technique through the cross-fertilisation of art music and electronic dance music (EDM). His hybrid compositions have been performed and broadcast in over twenty-five countries worldwide, including presentations at international events such as ACMC, ICMC, L’espace du Son, NIME and Sonorities. Recordings of his music are available from CMMAS, Furthernoise, SONUS and Vox Novus, while his writing is published in eContact!, eOREMA, Dancecult, Sonic Ideas, and the proceedings of the International Computer Music Conference (ICMC 2011).

Jo Hyde

Joseph Hyde’s background is as a musician and composer, working in various areas but in the late 90s - and a period working with BEAST in Birmingham - settling on electroacoustic music, with or without live instruments. Since then, his work has diversified: whilst music and sound remain at the core of his practice, collaboration has become a key concern, particularly in the field of dance. Here he works both as a composer and in a broader capacity working with video, interactive systems and telepresence. His solo work has also broadened in scope to incorporate these elements, and he has made a series of audiovisual ‘visual music’ works, as well as writing about work in this area and running the biennial Seeing Sound visual music symposium. Hyde also works as a lecturer/academic, as Professor or Music at Bath Spa University in the UK – as well as teaching on the BA Creative Music Technology, he runs the MMus in Creative Sound and Media Technology and supervises a number of PhD students. Recently he has renewed his interest in modular synthesis (early on his career he made heavy use of EMS Synthi AKS and Moog modular) and has spent the last year putting together the Eurorack system you hear here.

 The Martin Harris Centre for Music and Drama
Saturday 25th October 2014

  19.30 - 20.40 CONCERT TWO (Thaw)
  Place: John Thaw Studio Theatre (Martin Harris Centre)
  "Form Constants" by Aidan Taylor / Kim Da Costa
   "Invisible Colours" by Jens Hedman
   "FMRL" by Jules Rawlinson
   "Putney" - for live game-audio by Ricardo Climent (with invited VCS3 guest Mark Pilkington)
   "Benjolin" by Patrick Gunawan Hartono. 8 channel surround
   "Stochastic Moods" by Dave Ross. Stereo fixed Media

Aidan Taylor / Kim Da Costa (and the Form Constants project)

Form Constants in a relatively new project set up as a playful outlet for Aidan and Kim's shared interest in electronics, installation and performance art. Their performance setup has mostly been constructed in their home workshop using a combination of original designs and kit projects. Their current work is made up by designing open-ended compositions based on chaos theory and chaotic systems described by Edward Lorenz in his book “The Essence of Chaos”. Form Constants provided performances for “From Now On” festival in Cardiff and “Supernormal” festival in Oxfordshire amongst other events this year. Kim has a background in animation and design. In her work she uses homemade video synthesisers and obsolete, broken and unwanted video hardware to generate signals and video feedback. She is largely influenced by the video art of Nam June Paik in her work and is obsessive over 3D fractals! Aidan has been working with electronic instrument design for a number of years. Lacking any education in electronics he has learned largely through reverse engineering and the anti-thesis methods of Reed Ghazala and Nic Collins. His instrument design has always been geared towards performance but he also has an interest in generative and reactive music systems. He has played music in a number of solo and collaborative projects including DIY/Hack trio Ginko and Matthew Lovett's outdoor improvising collective Field Sports / Fold Music. Today Aidan is working with modular synthesiser systems in his design and musical work and also delivers workshops and electronics kits through his micro-company ART Synthesiser.

Jens Hedman

Jens Hedman is a long time established name in Swedish electro-acoustic music. His music has been performed at festivals, concerts and on radio all over the world and has received several important prizes in international music competitions. Hedman composes both instrumental and electro-acoustic music as well as sound art. He often combines his music with other artistic expressions, collaborating with writers, visual artists, choreographers and architects. To Hedman the spatial content of music is very important and many of his works explore space and movement utilizing multi-channel techniques. He has also participated in several collaborate compositions together with other composers. He has been teaching at Elektronmusikstudion (EMS) in Stockholm for more than 20 years as well as at IDKA, Kapellsbergs music school and workshops in many countries. He was president of the Society for Electro Acoustic Music in Sweden ( 2001-08. Hedman studied EAM-composition at the Royal College of Music in Stockholm and sound art at Stockholm Academy of Dramatic Arts.

Jules Rawlinson

Dr Jules Rawlinson, Edinburgh College of Art (University of Edinburgh) .
Jules Rawlinson (1969, UK) designs sounds, visuals and interactions. He composes for and performs with live electronics in solo and small group settings. Performances include broadcasts on Radio 3, recitals alongside composers and technicians from IRCAM, and support slots for artists as diverse as Pole, Ben Vida and Eddie Prevost. He graduated from the University of Edinburgh's MSc Sound Design programme with Distinction in 2006, and was awarded a PhD in Composition by the University of Edinburgh in 2011. He has been working with modular synthesisers since 2000 when he bought his first Nord Modular, and began working with Max/MSP in 2001. He bought the first of his analogue modules in 2007 and his current approach includes elements of all three, investigating different facets of 'variegated noise' (Rawlinson 2011), sound that exhibits an irregular, patchy and streaked nature resembling crackling static and dead air, and transient, gestural character. His scored compositions examine musical systems from the perspective of combinatory relationships and dependencies between sound types, notation, software, and hardware, with subsystems that demonstrate environment, boundaries, structure and interconnectivity. Improvisations focus more on shaping ‘biting-point’ interactions into formal structures. Complementing his work with modular synthesis, Jules' research interests include developing new approaches for working with adaptable interfaces such as 3D navigators and graphics tablets for audio-visual performance and design, coupled with graphic notation and creative coding. Jules is currently investigating graffiti as graphic score or 'signature sounds'. He is a founding member of the LLEAPP network (Laboratory for Laptop and Electronic Audio Performance Practice), which has fostered an ongoing and reciprocal series of workshops and events at a number of UK institutions, and is a Teaching Fellow in Digital Media at Edinburgh College of Art (The University of Edinburgh). For more information visit

Ricardo Climent

Ricardo Climent is Professor of Interactive Music Composition at University of Manchester, UK, where he serves as director of the NOVARS Research Centre and as head of Composition. For the last few years his research has focused on game-audio (e.g. blender, unreal engine). He employs physics-graphics-game engines in compositional environments, using sound and ‘the aural’ as the primary source for navigation and exploration. Web-links: game-audio projects:; Collection of musical works:; for NOVARS:

Mark Pilkington

Check bio in concert 3 below

Patrick Gunawan Hartono

Patrick Gunawan Hartono (INA/NL) is Young Indonesian Electroacoustic Composer, Sound/New Media Artist, member of Awahita Nusantara, whose art and musical interest is to use technology, and scientific approach as creativity tools. Mostly of his works tend to use the original characteristic sound of Indonesian traditional music instruments that being manipulated as a source material. The musical thought behind his works is also strongly influenced by the concept of open structure, and free improvisation of Natives Indonesian Music. His music has been performed in several venues; YCMF (Indonesia), Wocmat (Taiwan), Andong Dance Festival (South Korea) Sound Bridge Festival (KL), ZKM (DE), IRCAM (FR), Behind The Score (NL), NYCEMF (USA), etc. He currently lives in Den Haag, and studies at Codarts Rotterdam Conservatorium for new media composition and actively involved in local and international electroacoustic, and new media activity.

Dave Ross

Born in East London in 1967, still here! Self-taught Kit drummer - recorded/performed- Bark Psychosis, Andy Cox, Jah Wobble, Frank Chickens, Matt Deighton. Primarily in, 'Kenny Process Team', -Ben Watson describes 'as the only combo who have mastered the poly-rhythms of Trout Mask Replica'. Drumming lead me to Free Improvisation and work with adults with profound special needs, (ongoing), developing a multi-instrumental approach, -producing releases, 'Circle and the Square', from sessions in Day Centres and 'Mystery Lights/Nightflower', with Shakuhachi Maestro Clive Bell, making Wire's top 10 Improv records 2005. A Multi-Instrumental approach leads to an Electro-Acoustic one in trio 'Twinkle3', with Synthesist Richard Scott w/ Clive Bell, producing 'Let's Make a Solar System' ( ini.itu Records). Pure electronics soon dominates Composition and Ensemble Improvisation- 'Eyetones' shortlisted by the PRS for New Music Award 2010, -Pitch shifting bells and sine-tones countdown the final hour of BST, delineated by the anti-clockwise rotation of the London Eye, -a giant backwards clock plays a piece beginning / ending at the same time. Eye organisation uncooperative, entry withdrawn, but 'Radiophonic Eyetones' broadcast by Resonance FM at the designated hour 2010-13. Ensemble improvisation with electronics in 'Grutronic' (w/R Scott) and soloists Evan Parker and Orphy Robinson, producing two albums for PSI. Analogue Synthesis causing re-evaluation of music-making and an exploration of rudimentary instrument designs, performing with Mouthbow, Trumps and Frame Drum in duo, 'The Happy Couple', with Judith Goodman, performing at Cecil Sharp House, Bath Folk Festival, South Bank, and featured on National Radio. April 2014, LP release with Clive Bell, 'Recovery Suite' (ini.itu). Homebrew modular forming a purely electronic dialogue with Shakuhachi, in a meditation on pain and medication states. The Suite to be performed Sept 19, 2014, at Museo Wolf Vostell, Spain.

The Martin Harris Centre for Music and Drama

Sunday 26th October 2014
14.00 h- 15.00 h. CONCERT THREE (Thaw)
  Place: John Thaw Studio Theatre (Martin Harris Centre)
  “Synthetic Springs ” by Rosalia Soria . Fixed Media
  “Live Improvisation” by Guillaume Dujat des Allimes and Falk Morawitz
  “Foof” by Mark Pilkington. 8.1 channel surround
  “Sines Fantasy” by Epameinodas Fassianos. Fixed Media
  “Boids” by Ignacio Pecino. 5.1 channel - procedural-generative audio
  “Tesla” by Chelsea Bruno for Live Improvisation Analogue Synth

Rosalia Soria

Rose Soria, Mexico. Born in Mexico in 1979, studied composition at the "Conservatorio de las Rosas" in Morelia Michoacán, Mexico, with Javier Álvarez Fuentes and Juan Sebastián Lach. She also completed a MSc in Electronics Engineering at Michoacán State University UMSNH in Mexico in 2010. In 2012 she received the PDS awards scholarship to study at NOVARS Research Centre at the University of Manchester, supervised by Prof. Ricardo Climent. Her research is focused on composition using State Space models used for sonification and sound design.

Guillaume Dujat des Allimes and Falk Morawitz

Guillaume Dujat is an Electroacoustic Masters student at the University of Manchester interested in live electronic performance.
Falk Morawitz's areas of interest include acousmatic music, interactive sound art and electronic dance music. In a compositional context he is interested in sound design and the abstraction and electronic processing of audio symbols (sounds that symbolize certain ideas or have certain culturally-dependent associations) and their usage in musical contexts. 2008 – 2012 studied at University of St Andrews, graduated with distinction / Master of Chemistry 2012 – 2013 Research Fellow at KFnSc, Organic Solar Cell Research Centre Seoul, South Korea 2013 – 2014. Music and Science teacher, German School Changchun, China Alumni of the German National Academic Foundation (Studienstiftung des Deutschen Volkes)

Mark Pilkington

Mark Pilkington is a performer and composer of electronic and electroacoustic music. Interested in fusing together audio/visual structures that can be manipulated from a score or improvised in real-time thus presenting performances that question traditional concepts of art, music and technology. He works in the areas of screened works, recordings, installation and live performance. Currently a PhD candidate at the University of Manchester (UK). Graduated with an MA in electroacoustic composition from the University of Huddersfield in the UK 2004. He has completed the Summer Intensive Electroacoustic Workshop at the Centre de Création Musicale Iannis Xenakis (CCMIX) in Paris, France 2005 and presented a paper 'Audio/Visual' composition at the BETA conference at FACT Liverpool 2005. Mark also runs his own audio/visual label called ‘TUM' - As the recording artist Thought Universe Mark performs electronic music - Skam (UK), Sonic World Service (UK), Mainline (DK), DalRiada (UK) and Recordcamp (USA) have released his music. He has performed in the UK, Europe and the USA. With live and recorded radio broadcasts around Europe via the EBU.Currently he is a lecturer /educator on the BA Music Production at Futureworks/UCLAN, Manchester. Sound Designer for various computer games companies. In 2013 he completed a PhD in Composition at the NOVARS Research Centre, the University of Manchester under the supervision of Prof Ricardo Climent and Prof David Berezan.

Epameinodas Fassianos

Originating from Greece, I attended both the University of York (MA in Music Technology) and the University of Sussex (MA in Composition for Media and Film and MPhil in Musical Composition). My BA in Greece was in Informatics and Computer Technology while my true passion was classic piano. I obtained my Piano Diploma in 2003 with Professor Dimitris Toufexis. In parallel, I obtained the Diplomas in Harmony, Counterpoint and Fugue respectively. Experimental and non-experimental films have always been a huge part of my life. It’s amazing how films can transport people to a magical world. I’ve created an experimental film "Antithesis" and composed the film score. In addition, my Major Project for the MA in Composition was to rescore "Koyaanisqatsi", a film by Geoffrey Reggio (original music by Philip Glass). Moreover, I have a continuous interest in scoring Stan Brakhage's experimental films. I truly believe in film music as a collaborative art and I am fascinated by the effects music can have on a film. My scores are musically rooted, regardless of the techniques or media employed. My influences include Ennio Morricone, Michael Nyman and Vangelis. Despite being a classically trained pianist, my main focus has been computer composing. I enjoy writing in different styles, either for live instruments or using the computer as my main compositional tool. During my studies in the UK, I was introduced to contemporary compositional techniques and their development. That was in fact a big part of my MPhil work. The guidance of Professor Martin Butler (University of Sussex), Dr. Ed Hughes (University of Sussex), Professor Tony Myatt (University of Surrey) and Dr. Andy Hunt (University of York) was valuable and essential.

Ignacio Pecino

Ignacio Pecino initially studied physics from 1994 at the University of Seville (Spain) and graduated as a Sound Technician (Fundación Audiovisual de Andalucía) in 2001. Both fields finally led into a BMus(Hons) Degree in Music Composition at "Conservatorio Superior de Malaga" where he has worked as a sound engineer and a lecturer. In 2007, he attended master classes with members of the INA-GRM in Paris - Daniel Teruggi, Parmegiani Bernard and Francois Bayle, and the PhD in Communication and Semiotics Edson Zampronha. His research interests range from acousmatic and spatialisation to semiotics and cybernetics, having published several articles in specialised journals (Filomúsica, January 2007). He has been commissioned orchestral works by Malaga Symphony Orchestra (Granada / 2 ", January 2010) and premiered fixed media and live electronics works at MAEM'07 (Madrid), "Festival Zeppelin 2010" (Barcelona) or "Primavera en la Habana 2010" (Cuba). Ignacio Pecino was studying for a MusM in Electroacoustic Composition at NOVARS (University of Manchester) in 2010-11 (subject to graduation) where he was granted the prestigious Harry Clough award and has started PhD in 2011 with Prof Ricardo Climent.

Chelsea Bruno

(aka Eden Grey)
Electronic musician and pianist Chelsea Bruno has been composing and releasing music under the artist alias Eden Grey for several years. Her father is a piano technician and musician, which inspired her to compose and pursue a career in music with a growing interest about the mechanisms and technical workings of the piano. Seven years of lessons in classical piano had a major outcome on her aesthetic. First composing songs on the piano in her teenage years, acquiring a MIDI keyboard allowed her to begin recording electronic music in Ableton Live. She pursued an undergraduate degree at the University of Miami in visual art, poetry, and literature, attending electronic music seminar classes as electives and a semester of study abroad at the University of Leicester in 2008. She began giving live performances with her computer in 2007 and began her venture into the world of analog in 2013 when her father gave her a Moog synthesizer as an early graduation gift. Having earned her Masters’ degree in music technology at Florida International University, her thesis focused on the history of the vocoder, programming phase vocoders in Max/MSP, the concept of Deep Listening and the affect of music on the mind, the basics of modular synthesis, and composing with selected Buddhist chants and recordings of modular drones. She won the Presidents’ Innovation Award to attend the National Association of Music Merchants (NAMM) convention in Anaheim, California, where she first learned about the Eurorack format of modular synthesis. She then further pursued her interest in the field by doing her graduate internship at 4ms Company in the summer of 2013. There, she began building her Eurorack under the instruction and supervision of inventor and founder, Dann Green. She is now on the music composition PhD course at Royal Holloway, University of London.


SATURDAY 25th October 2014

Room G16 (Martin Harris Centre)
- Ground floor.
Time: From 12.00 h to ca. 17.00 h

Musical Interlude Authors

Dave O Mahony

Dave O Mahony is an electronic music composer from Limerick, Ireland. He obtained an honours Degree in English & New Media and an honours Masters in Music Technology, both form the University of Limerick where he is currently at his second year, pursuing a PhD in Music Technology. A brief outline of Dave's research can be found at:
He is currently composing using an Interaxon Muse brain sensing headband sending control voltage to a Eurorack modular synthesizer and also use the iPad as a composition tool.

James Parr

James Parr studied Fine Art at Camberwell and St Martins in London. He started making electronic music around 1998 using Max/Msp and a little hardware, i.e digital synth and became involved with the Adaadat record label in east London 2000. Used the name greypetcat to make visuals for many other music artists using Max/Msp/Nato 0+55, and worked producing electronic music under the name 1ntr. Worked for Apple as a day job, fixing computers etc. 2010 started to become more interested in analogue synthesis and started to build a small modular eurorack synth. In 2014 released an album for the Adaadat record label: titled : Corrupt Practices. This album was produced using a small eurorack modular synth and a Teenage Engineering OP-1. Mostly abstract and slightly industrial sounding, with some rhythmic elements, it was intended to evoke an alternative to my robotic working life, more organic and less sterile. In 2014, added a sequencer and a couple of drum modules to my modular synth to make it more self contained, without the need for external gear. Recently started to get back into Max/Msp/Jitter a bit, but my main interest is in the analogue synthesis and control of my small modular.

Rodrigo de León Garza

Monterrey, Mexico. Rodrigo de León Garza is interested in sound composition based on electronic media (modular synthesizer, analog synthesizer, magnetic tapes, analog effects) and unconventional means. He currently lives in Mexico City and is attending SAE, coursing the last year of the Sound engineer degree. When not at school, he work as an editor and producer for video dubbing and is responsible for the sound identity and part of the audiovisual team at the Center for Digital Culture in Mexico City. #FFFF is an audiovisual collective that León Garza co-founded in 2011. #FFFF's work is based on multimedia and interactive performances. The aim of this project because was to experiment with the technological and methodological elements that music, dance, visual arts and design provide. His solo live performances are based on improvisations, however, there is an structure behind all the work and the sound. Before playing live, he write my own scores, that are based on narrative (despite not having a musical theory background). While working with analog media, Rodrigo has collaborated and participated in events and venues such as: Laboratorio Arte Alameda (LAA), Quorum (Bellas Artes), Centro multimedia (Centro Nacional de las Artes), Live Performers Meeting (LPM), Festival Ceremonia, Volta, Source 2.0, White Noise Festival (Guanajuato), Underground006 (Guadalajara) and Visiones Sonoras Nocturnas (CMMAS).

Alex Gowan-Webster

Alex Gowan-Webster is a composer based at the University of Sheffield with a dual interest in both electroacoustic and instrumental composition. He also has further interests in the use of music technology in generating composition material both as source sounds and for scores including the construction of compositional tools in software environments such as Puredata. He is a modular synthesizer enthusiast maintaining a small eurorack system, which is often used as a source sound for his electroacoustic compositions.

Patchbay Paper Session Authors

Finlay Shakespeare [This Paper is presented on Sunday at the Islington Mill]

I have been working with hardware modular synthesizers since 2005 when I began working under the name Future Sound Systems. I produced small runs of modular synthesis equipment and circuit bent instruments, until moving to primarily Eurorack designs around five years ago. In my designs, I aim to tackle familiar synthesis ideas and practices at new and unique angles. For example, designing open- ended sequencers where any step can practically be used to modulate any patchable parameter, or modified beforehand. My filter design within the Spectral Devastator module is also one of a kind, and does not clone any pre-existing synthesizer filter. I also write and record my own electronic music, often employing my own-built synthesis equipment, as Future Image. Recently, I graduated from the Tonmeister course at the Institute of Sound Recording, Surrey, and will be continuing to pursue sonic innovation within the field of sound synthesis.

Future Sound Systems

Mat Dalgleish

Dr. Mat Dalgleish was born near Birmingham, UK. Mat studied fine art at the University of Northumbria and interactive media with former Stockhausen ensemble member and composer Rolf Gehlhaar at Coventry University. Since 2007 Mat has taught in HE, specialising in audio programming, music for film and music interaction, and is currently a Senior Lecturer in Music Technology at the University of Wolverhampton. His research interests are based around the intersection of interaction design and music technologies. This includes the design of new instruments, sound installations, and interfaces that explore new ways to learn more traditional musical skills. From 2009-11 he was a visiting researcher at The Open University’s Music Computing Lab. In 2013 Mat exhibited audiovisual work at Beton7 gallery, Athens, and co-authored two chapters in the book Music and  Human-Computer Interaction, published by Springer. Beyond academia, he has created interactive sound and audiovisual works for clients in the UK and Europe. In his spare time he designs Eurorack synthesizer modules that fuse Soviet-era designs and contemporary DSP.

Chris Foster

Dr. Chris Foster is a Lecturer in the Music Department in the Faculty of Arts at the University of Wolverhampton. His research interests are in composition, and he has studied with a variety of composers over the years, including Richard Steinitz, John Casken and, more recently, Michael Finnissy.

Gary Bromham

Gary Bromham is a producer and songwriter who began his career in Iceland. After co-producing a Eurovision entry, making an album with jazz-funk band Mezzoforte and working with Bjork, he subsequently worked with Andrew Ridgeley and George Michael. In 1990 he signed a publishing deal with Warner Chappell Music, and went on to write for artists such as Sheryl Crow and Bow Wow Wow. In the late 1990s he had hits with Lonyo’s Summer of Love, Dannii Minogue’s Who Do You Love Now and with Sheryl Crowe’s Soak up the Sun. More recently he has collaborated with Pam Sheyne on writing/production projects for the likes of Delta Goodrem, Lemar, Tina Arena and Lisa Scott-Lee. He has also been selected by Apple to be one of three Apple Distinguished Professionals (ADPs) in the UK, guest lectured at several universities, advised on academic programmes, and successfully supervised a PhD candidate in Norway.

Andrew Lowe

Andrew has been involved in music technology since an early age, and has an undergraduate degree in Audio and Music Technology from Anglia Ruskin University and an MA in Music Technology at the University of Wolverhampton. Since 2000 he has worked at the University of Wolverhampton as part of the Performing Arts Technical Team, where he is responsible for the running and maintenance of the Music Department's equipment, studios and computer labs. He also acts as a visiting lecturer when time allows, and supervises music production based dissertation work.

James Prosse

James Prosser specialises in studio production and sound for film. Since 2012 he has worked at a recording studio in Florence, Italy, undertaking a variety of production, multimedia and live sound projects. James has also taught on the undergraduate Music Technology course at the University of Wolverhampton as a visiting lecturer and at City of Wolverhampton College. He is currently undertaking postgraduate study.

Matt Preston

Matt “matttech” Preston is a musician and producer from Manchester, who currently composes experimental electronic music under the name “Spite Zoo” ( He also specializes in the field of Eurorack Modular Synthesis, working on a large 21u multi-case system, alongside semi-modular offerings from Cwejman and Vermona. After heading to the North West in order to enroll on Salford University’s Popular Music and Sound Recording Matt pursued a career in the music industry, securing deals with PWL (Pete Waterman Limited), Warner Brothers subsidiary Coalition Records, and culminating in commercial releases for Robert Miles’ S:Alt Records as Blue Light Fever. The album and accompanying singles enjoyed some glowing reviews, much positive DJ feedback, and national radio airplay. However, in order to recharge his batteries, Matt eventually took a sabbatical from the industry and retrained as a teacher, specializing in Music Technology – and in particular, Synthesis.
After a few years the pull of music making became too much, and a comprehensive Mac-based studio was put together, with a view to reigniting the creative process. Initially all work was undertaken using software. However, frustrated with being permanently tied to a mouse, and spurred on by some challenging life events, a new outlook persuaded Matt to venture into the world of modular synthesis. It has been an absolute revelation and he has not looked back since. Recently, largely as a result of Matt's raised profile as "matttech" on the Muff Wiggler modular synth forum, he has been commissioned to produce demos of modules from companies such as Synthetic Sound Labs (SSL), WMD Devices, Frequency Central and Intellijel - sometimes also contributing design ideas and undertaking beta-testing.

Jim Frize

Jim Frize was born in the north east of England near the banks of the River Tyne. From a very early age Jim was blessed with a curiosity for pulling apart electronics, putting jam sandwiches in VCRs and smashing up TVs with a hammer. As a musician and engineer Jim has designed and built various synthesizers and kits over the past eight years. He was introduced to building electronic musical instruments as an undergraduate at De Montfort University, where he joined Dr John Richard’s Dirty Electronics Ensemble in 2006 and learnt the art of hardware hacking and circuit bending. After graduating with a BA Hons Music, Technology and Innovation degree in 2009, Jim became a fellow at the Institute of Digital Innovation where he and his partner Kat Pattison set up the creative technology company Sonodrome Ltd. Sonodrome has provided technology workshops for the likes of SEAT, TOPPS Inc, the Thinking Digital Conference, Teen Tech, VISTA, Embrace Arts as well as a number of charities and councils providing access to technology. More recently Jim has worked in collaboration with the Dirty Electronics building a Synth Sequencer for Richard James (Aphex Twin) and designing the 20th anniversary Sónar synthesizer for the Sónar music festival. Currently Jim is a PhD candidate and part time lecturer at De Montfort University where he teaches Max MSP and researches deconstruction, music technology and the blurry line between artists and engineers.

Andrew Duff

Organiser of the Brighton Modular meets at The University of Sussex since 2012, where he also teaches Digital and Interactive Media. Since the late 1980’s Andrew has amassed a large collection of electronic music, and collected and experimented with a range of, generally, Japanese analog synthesizers, DJing, recording music and performing live at club nights and various other events. Since completing a Masters in Design and Digital Media in 2000, he has been involved in teaching and academic research, where he also plays a part in The University of Sussex’s Center for Material Digital Culture. In 2009 Andrew began his trip in to the modular synth world beginning with small DIY projects and has finally finished his Klee sequencer…! //

Alexander Harden

Alexander C. Harden is a British electronica composer and popular musicology student. Having recently pursued postgraduate studies in electroacoustic composition and sonic art at the University of Birmingham, his doctoral research moves tack to consider the hermeneutics of 21st century studio-based popular music, funded by the University of Surrey. His research interests include the creative application of studio technology and mimetic issues within studio-based creative practice. As a composer, Alexander’s work explores the impact of digital musicianship upon creative practice. Select material is released under the Subsonic Winter musical project and his original works have also appeared at the London Southbank centre (2012) with the support of Sound And Music, and the recent Festival de Cannes (2014).

Núria Bonet

University of Plymouth. Núria Bonet (b.1991) is a composer currently based in Plymouth. She grew up in Luxembourg, where she attended the Conservatoire de la Ville de Luxembourg, studying piano, clarinet and harmony. She went on to study for a degree in music at the University of Manchester at the tender age of 17, followed by a Masters in Electroacoustic composition at the same institution. She has just finished a masters in Acoustics and Music Technology at the University of Edinburgh, where she worked on harmonicity in natural horns and the Catalan folkloric instrument called tenora. She is at the beginning of a PhD in sonification with Eduardo Miranda at the University of Plymouth. Núria is particularly interested in the cross-disciplines of music, science and technology but also has a soft spot for visiting instrument museums across Europe in search of tenoras.

Matt Bellingham

Matt Bellingham is a Senior Lecturer in Music Technology and Course Leader for the undergraduate Music Technology course at the University of Wolverhampton. Having been a lecturer on HE Music Technology and Production courses since 1999, specialising in acoustics, engineering, production and synthesis, Mat previously managed a large music department in the FE sector. He has also worked as an engineer and producer since 1996, for both major and independent labels. As a guitarist he has signed recording and publishing contracts and has toured the UK and northern Europe. He is currently undertaking a PhD in the area of ‘user interface design for the democratisation of end-user algorithmic software’ at the Open University’s Music Computing Lab.


Manoli Moriaty

Manoli Moriaty is a composer, noise artist, and researcher at the University of Salford. His current practice explores themes of interdisciplinarity, collaboration, and indeterminism, with the themes manifesting through data sonification, misuse of technology, and unlikely pairings of beings and machines. His work ranges a wide spectrum of cross-disciplinary performances, generative sound installations, DIY noise systems, and multi-spatial acousmatic compositions. An Athens-born adoptee of Manchester since the late 1990s, Manoli’s early musical inclination gravitated towards the emerging rave culture. While studying architecture at the University of Huddersfield, he became involved with the local rave scene. Paired with techno soundsystems, he travelled and performed at clubs, squats, and festivals across the North West and as far as Eastern Europe. During his studies of Popular Music & Recording at the University of Salford, he went on to establish two of Manchester’s most popular dance music events, Illuminaughty and Hit n’ Run, where he hosted and performed alongside world renowned artists under the moniquer “H Said”.
His passage into sound art practices came about during postgraduate studies of electroacoustic composition under Craig Vear and Stephen Davismoon, where he developed works that were presented at international music festivals and academic conferences, with performances at MediaCityUK, the New York Electroacoustic Music Festival, ICMC, and the Ionian Academy. More recently, Manoli was awarded a full PhD scholarship by the University of Salford towards researching collaborative performance. He is a member of the Hellenic Electroacoustic Music Composers Association (HELMCA), and the founder and co-curator of the sound art collective Metanast, with their non-profit concert series supported by Sound and Music.

Melanie O’Dubhshlaine

Melanie O’Dubhshlaine is an artist and musician based in Leeds, West Yorkshire. In a fifteen year musical career she has performed and composed music based in the noise, improvised, experimental and psychedelic rock genres. As a member of Ashtray Navigations she has appeared at All Tomorrow’s Parties (Nightmare Before Christmas, curated by Thurston Moore), Music Lover’s Field Companion in Gateshead, Incubate in Tilburg, Netherlands, Swn Festival in Cardiff and Sotto Voce at Cafe Oto, London, also touring the UK, Europe and USA. Her solo work takes the form of two projects; Melanie O’Dubhshlaine concentrates on electronic composition, whilst Ocelocelot is centred in the noise genre. Her background in visual arts leads her to introduce visual elements into her performances. An overriding theme of her work is using unusual instrumentation to extend human expressive capabilities and give voice to previously unheard sounds. She has collaborated with other artists including Neil Campbell, Ashtray Navigations, Part Wild Horses Mane On Both Sides, Bridget Hayden, Uton, John Moloney (Sunburned Hand of the Man) and MV & EE.


"Dan_P is coming down from the hills for a rare performance of his "Disposable Sound" project. He will be playing an improvised piece using a Buchla 200 Modular Synthesizer. Comprised of a Buchla 208 together with other 200 series clones and third party Buchla style modules. The Buchla is fed into the Gotharman Little Deformer adding digital glitch and bit crushing giving contrast to the warm analogue tones of the Buchla 200. Dan_p has been a percussionist all of his life so it is no surprise that the piece will contain rhythmic and percussive sections. Sound is explored and riffs that emerge are played with and playfully developed. Counter timed twisted pastiche acid lines will emerge briefly before being ripped into experimental soundscapes."

Dirch Blewn

dirch blewn (Game of Life Label) resides in the playful, the exploration. with no formal musical training due to an over enthusiastic elder sister on clarinet he has adopted a focused, experimental approach using bent electronics, homemade devices, ciat lonbarde instruments, 1/4' tape manipulations, effects pedals and mastering onto compact cassette. He performs with a variety of mysterious electronic instruments including Plumbutter, Roolz Gewei, Cocoquantus, Tetrax, Sidrassi & Shynth made by from Ciat-Lonbarde"