Auditory Stimulation and EEG
I develop algorithms that make audio drive the brain’s rhythms. My main method takes any existing audio track and embeds a steady pulse inside it, producing an auditory steady-state response (the brain’s electrical activity locking onto that rhythm) at any target frequency, while the track still sounds like itself. I also compose music with the pulse built into it from the start.
To measure the effect, I built my own EEG analysis for consumer headsets that shows whether the brain is actually following the sound. University collaborators are now testing it in a preclinical study.
- Sounds for Aging (2024–2025), a web app for comparing 40 Hz stimulation settings
- Provisional patent application filed
Spatial Audio
I build my own spatial audio tools in Max/MSP. A composer draws paths through a virtual 3D room, and each sound travels along its path across a multi-speaker array. Amplitude panning places it between the speakers, and filtering and EQ change its color as it moves, so it seems to come closer or recede into the distance as well as move around the listener.
I’ve used these tools in multi-channel installations such as PODs! and in live performance, including my score for Nosferatu.
Audio Encryption
I developed a way to hide sound inside noise. In Triple Cipher (2023), a sound or image is split into three signals that each sound like noise. Any one or two of them reveal nothing; only when all three are combined does the original reappear.
The same idea drives Crystal Cipher, a sound sculpture premiered by Site Specific Happenings, in which music split into two noise signals becomes audible only where both meet in the sculpture.