A recording of fluorescent lights being flicked on and off, processed by 3600 granular voices spread evenly over a square kilometre. Granulation of multiple point sources is used to help synthesise the impression of apparent sound source size.

The first movement in a series of works exploring the effect of distance on a sound's spectral character. The drum sample is taken from a recording of drummer Tim O`Driscoll

Here, a video of a torch waved around is spatially sonified. Occasional lens flares cause loud sound events. The scaled translation of the image is such that the lens flare is aurally modelled as being 300m wide. Apparent sound source extent is synthesised by decorrelating 3600 concurrent granular voices. This means that the 300m wide lens flare should be perceived as a large sounding object. The video can be seen in full (but with only a stereo downmix) on Vimeo: http://vimeo.com/9202956

Test image for the spatial sonification of images. The lens flare represents a 300m wide sounding object. Sound produced from the farthest parts of the shape (B) will arrive at the centrally located listener (x) considerably later than sound produced from the closer parts A). When heard, this effect sounds like a kind of reverberation. However, unlike room-modelled reverberation, where both first reflections and diffuse reflections typically arrive from all sorts of directions, this reverberation is somewhat unidirectional. There are no real reflections, all sounds arrive directly from the object.

Electronic music, most of the sounds are produced with dynamic-stochastic synthesis, as pioneered by Xenakis. This is synthesised B-Format, and I play this piece live, synthesising and spatialising much of it in real time - this is a studio performance recorded. On a good decode on a good system (large room), some of the sounds wrap around your head.