Here are a five videos that I’ve recently produced for myself and for the ensemble that I directed last year, FLEA (FIU Laptop and ElectroAcoustic ensemble). Check them out!

spots of foam on the ocean – FLEA

filling a void with empty space – Alex Lough

shadows mixed in – Carlos Dominguez

improv set with colored lights – FLEA

Improvised set at Swampspace (w/ Alex Lough)


check is a soundfilm that I composed in the summer of 2013 while taking a class taught by Jodie Mack. After messing with a few hand-made film techniques, I got interested in the sound mechanism for 16mm film projectors and experimented with different ways of getting a soundtrack onto the film. Inspired by the work of Roger Beebe and Alexander Stewart, I photocopied some patterns onto strips of film and made loops with varying tones and timbres. This led to the decision to use the xerography [I love this word] process for the entirety of check.

The patterns seen in check are from Jean Larcher’s “Optical and Geometrical Allover Patterns” published by Dover Books (thanks, Rich Fedorchak). I made a few collages from the patterns which helped me visualize a timeline for the piece and ended up photocopying them onto sheets of film-strips. ~230 splices later, check was finished.

At the end of the Spring term, 2013, I was asked to compose music for an action sports video put together by Max Hammer (for his tumblr, click here). This is something I’ve been wanting to do since I saw my first Warren Miller documentary, so I was really happy to work on this project. Seeing the nature of other action sports videos and documentaries, I realized that I didn’t want to stay close to the stylistic trends of the music that normally gets set to these films. I wanted something that, to me, communicated the grandeur of the mountains and the purity of the snow, while setting up the actions of the skier in the video. I decided to record fellow Digital Musics student, Phillip Hermans, improvising with a harmonica and an accordion (which was lent to us by Jessica Thompson). I then chopped up the recordings and structured various raw and manipulated samples into the music that you hear. Apart from this, I used a few small samples from the audio that was recorded by the cameras to accent some of the smaller parts in the film.

The video was put together by Max Hammer, an animation student at Dartmouth and great skier. It was submitted to Teton Gravity Research’s Co-Lab contest where it won the title of ‘Most Creative.’

During this past Winter, I worked on a project where I had to compose a score for the 1928 silent film, Beggars of Life. It’s one of my favorite projects that I’ve developed.

William Pence, co-founder of the Telluride Film Festival and Film Director at the Hopkins Center at Dartmouth College, asked me to create some musical accompaniment for a restored version of Beggars of Life set to premiere during the Pordenone Silent Film Festival at Dartmouth on February 2nd. He said he wanted something non-traditional in the realm of musical accompaniment for Silent Film and asked that I incorporate some amount of computer music. I put together a patch in Max/MSP that incorporated different modules for sample playback, processing and manipulation, and ended up with a live performance environment that I play throughout the entire film.

The sample library that I compiled consists of prepared piano, plucked double-bass, and various sounds created by playing a music stand with a bow. To guide the performance, I sat facing the screen and used the film to direct what I played on my computer.

Here’s a link to an entire take on my Bandcamp page. I’ve separated it into a few different parts so that it’s easier to navigate. I haven’t gotten clearance to set my take to the restored version of the film and upload it, so that’ll have to wait. (quick tip: There’s a version of Beggars of Life on youtube with some other musical accompaniment. This one, however, runs for about 1 hour and 42 minutes. My audio was set to a restored version that runs for about 1 hour and 22 minutes).

For more information on the music and how the patches work, feel free to contact me at

a collection of binary messages is a piece that I put together for the annual MIDI Jamz concert hosted by Green Orpheus at Dartmouth College on Nov. 14th, 2012. The concert featured works from around the globe composed entirely from MIDI files of old or incomplete compositions. Here’s a link to a better description: Phillip Herman’s site

The piece was put together on a piano roll in Ableton Live. Inspirations for it include sound masses, MIDI piano samples, and drawing shapes in piano roll editors.

Listen to it here:


Listen to the entire concert (…binary messages starts at 29:03):

If you’d like to download it, visit my bandcamp page.

This piece, p1x3L8Ed, was done during my first Fall term at Dartmouth for Spencer Topel’s Advanced Sound Design class. It was premiered at the Sound-Unsound installations exhibit on November 14th. It was shown again at DAX v.2 during the Digital Arts Exhibition on May 9th. It consists of three wall-mounted wooden boxes that house light-sensitive, square-wave synthesizers. A computer connected to a projector beams three grids of color onto the boxes, changing the fundamental frequencies of the synthesizers.

Here’s a video summary of the Nov. 14th exhibit filmed by Alex Stockton (p1x3L8Ed is shown at 1:16, 1:45, 2:50, 3:41, and 4:27):

A few pictures:

Screen Shot 2013-07-02 at 2.49.45 PM  Screen Shot 2013-07-02 at 2.47.59 PM SAMSUNG SAMSUNG SAMSUNG p1x3L8Ed_01 Screen Shot 2013-07-02 at 2.48.47 PM