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A brief piece created with the Csound resources of AVSynthesis, an audio/visual composition/performance environment.

Digital RoundO #1 is a homage to music pioneers of the past. A reflection on the past which tries not to be nostalgic but hopefully provide an insight on the present and future of music. Here I have been looking at the remote past of Baroque Music masters in the piece's title, form and eloquent gestures. The more recent past of electronic music pioneers in its sound synthesis techniques and the craft work of assembling them and the creative use of effects. Use of minimal raw audio materials went in such direction. Finally, Digital RoundO #1 is a 'dance' which aims to provide listeners with an intriguing sonic experience.
Digital RoundO #1 was entirely composed on Linux. The raw materials are essentially additive synthesis produced in two ways: 1. An additive synthesiser I created in Pure Data which is driven by Markov chains. 2. Analysis and Resynthesis of bitmap images through the ARSS software written by Michel Rouzic. After creating an initial 'palette' of interesting raw sounds I solely used Ardour as my workbench with chisel-work montage and layering, working on panning and enveloping to shape the overall form of the piece. A Stereo Reverb effect (by Fons Adriansen – LADSPA version) was used in a very creative, unorthodox way through the continuous variation of the Reverb Tail parameter.

Birches was composed as a response to the poem of the same title by the great American poet, Robert Frost. My intent was not to "set" the poem, but rather to explore its inner workings -- to re-imagine its parentheticals, present in Frost's vicarious vision of a boy, a scene of birches, and the truth of the matter versus the `truth' as revealed in the confession of an old man looking back.
Birches is dedicated to my father and was composed for violist John Graham.
Open Source tools: The electronic part for Birches is derived entirely from Mr. Graham's own instrument, an Amati viola with a rather historic lineage. Software used to construct the electronic part includes Csound, Score11 (a Csound even preprocessor), Xavier Serra's SMS (Spectral Modeling Synthesis, on an SGI O2 workstation), Paul Koonce's PVC, the Ardour DAW, and several open source sound file editors including Wavesurfer, Snd, and DAP.
Performance: Live performance is enabled by a PD patch. Playback is from stereo master files which can be diffused as multichannel.

Rite of the Earth is a series of pieces utilizing sounds of ceramic instruments built during the Academy of the Sounds of the Earth, a multidisciplinary artistic project held in the Artistic Department of Silesian University in Katowice (Poland). Most of the compositional process and sound synthesis was carried out in SuperCollider, mixing and spatializing in Ardour, with the use of tools by Fons Adriaensen. In this sixth part, there's an orchestra of bowed bowls, flutes, ocarinas, shakers and drums, all brought to life by various computer music techniques.

Description of "Vocal Etude" It is a piece composed by Nicola Monopoli. Vocal Etude is an etude on the voice which is probably the best instrument of the world. The voice could be the voice of a child, the voice of a girl, the voice of the people we hear every day or also the inner voice. This etude is a "Ricercare" on the voice.

Morales composed the computer sequences and processing effects after his experiences recording music of the Huaves natives of Oaxaca, Mexico. His work at The Banff Centre in March, 2009 included this performance with Chris Chafe.