Live Electronics
Live Electronic Computer Music - 2026
This work is a live electronic computer music performance that explores sounds generated exclusively through traditional and contemporary electronic synthesis techniques, without the use of recorded audio or sampled materials. The piece investigates the compositional process of organizing complex sonic structures created from custom-built sound generators programmed in SuperCollider, shaping them into a coherent abstract narrative.
Through the live manipulation of these computer-based instruments using MIDI controllers, the work develops as a dynamic sonic environment intended to be experienced viscerally and intuitively. Rather than following a predetermined concept or external narrative, the piece focuses on the exploration of sonic behavior, electronic timbre, and abstract musical relationships emerging from the interaction of synthesized sound systems.
The work exists as an untitled study in sonic dynamics: a carefully programmed electronic instrument whose sonic behavior is explored in real time through the interaction of custom synthesis systems, MIDI control, and live performance.
Live Electronic [24-04-24]
This work is a live electronic computer music performance centered on a custom-built sample-based instrument developed in SuperCollider. The instrument combines granular synthesis, real-time DSP processing, and networks of resonant band-pass filters driven into extreme high-Q states, where the edge of instability becomes a primary compositional resource. Rather than avoiding these resonant artifacts, the performance embraces and shapes them, revealing dense electronic textures reminiscent of overloaded analog circuitry, power electronics, and unstable signal paths.
Pre-recorded sound materials serve as the instrument's raw matter, continuously transformed through granulation, filtering, feedback, spectral manipulation, and other custom DSP modules. The performance consists of navigating and sculpting this programmed system in real time, exposing the expressive possibilities that emerge from the interaction between controlled instability and precise performer intervention.
Rather than presenting fixed musical objects, the work explores the behavior of an electronic instrument whose identity is defined by resonance, saturation, and transformation. The resulting sonic environment oscillates between microscopic textural detail and large-scale masses of sound, treating digital artifacts, electronic interference, and computational processes as fundamental compositional materials.
Live Noise Set - Dynamic Chaotic Synthesis
This work is a live electronic computer music performance based on a custom instrument developed in Max/MSP and Gen~, centered on an original approach to dynamic chaotic synthesis. Inspired by Iannis Xenakis' Dynamic Stochastic Synthesis, the instrument departs from the original model by replacing its stochastic windowing process with continuously evolving mathematical functions that directly control waveform behavior. Rather than generating sound through fixed oscillators or predetermined spectra, the instrument produces continuously transforming waveforms whose morphology emerges from the interaction of chaotic functions and dynamic control systems.
The performance explores the expressive possibilities of these unstable yet controllable sonic processes through real-time interaction with the instrument. Small variations in the governing functions produce complex changes in timbre, spectral density, and temporal behavior, allowing the performer to navigate a continuously evolving field of electronic sound.
Rather than treating chaos as randomness, the work approaches it as a compositional resource capable of generating coherent sonic structures with rich internal variation. The result is a live electronic instrument that investigates the boundaries between determinism and unpredictability, extending Xenakis' ideas into a contemporary framework of function-based waveform synthesis and real-time computer performance.
Algorithmic Caribbean Live Set
This work is a live algorithmic music performance built exclusively from the sounds of Afro-Caribbean panderos. Developed in SuperCollider, the instrument generates continuously evolving rhythmic structures through algorithmic and stochastic processes while preserving the fundamental groove and pulse characteristic of Afro-Caribbean musical traditions.
Rather than producing fixed rhythmic patterns, the system creates an uninterrupted flow of subtly transforming cadences. Every phrase emerges as a variation of previous material, maintaining rhythmic continuity while introducing gradual changes in accentuation, density, timing, and gesture. The result is a musical process that balances repetition and transformation, allowing recognizable rhythmic identities to evolve organically without exact repetition.
The performance explores the meeting point between traditional Afro-Caribbean rhythmic practice and generative computation. Here, algorithmic procedures do not replace musical feel but become a means of extending it, creating a living rhythmic ecosystem in which groove remains constant while every cycle unfolds as a unique event. The work investigates how computational systems can embody the expressive vitality of Afro-Caribbean percussion through continuous variation, controlled stochasticity, and real-time performance.
Live Electronics