Thur 3 Sep: Composer in Residency conclusion, talk by Tim Murray-Browne

The Cave of Sounds at Hack the Barbican, 2013

When: Thursday 3 September 2013, 7.30pm

Where: Troyganic, 132 Kingsland Road, Hoxton, London

Entrance: Free

Somehow, ten months have already passed since I started here at the Music Hackspace and my time as Embedded Composer in Residence is now complete. This Thursday, I’ll be talking at Troyganic about the outcomes of my residency and my experience here.

Nearly all my efforts during my time here have been focused on creating The Cave of Sounds, with seven regulars of the Music Hackspace. Over the past two months, we’ve toured this work to the Barbican and the V&A. On Thursday, I’ll be describing how the project developed over the residency, listening to how its sound has evolved since my last update in May and discussing what we’ve learned through recent exhibitions as well as the future of the project.

So please join us this Thursday at Troyganic. Grab a drink and some food at 7pm, the talk will begin at 7.30.

Tim Murray-Browne
Composer in Residence with Sound and Music / Music Hackspace

The Cave of Sounds at the Barbican 19-26 August. Private view Thursday 22nd from 7pm

An early prototype of the Cave of Sounds being demoed at Music Tech Festival, May 2013.

The Cave of Sounds is an interactive sound installation created by artist in residence Tim Murray-Browne with members of the Music Hackspace. It’s the outcome of the Ensemble project, exploring what it means to hack new musical interfaces together.

The work will be exhibited downstairs at the Barbican as a part of Hack the Barbican, outside the stalls entrance to the concert hall and running at the following times:

Mon 19 Aug 7pm — 10pm
Tue 20 Aug 3pm — 10pm
Wed 21 Aug 3pm — 10pm
Thu 22 Aug 3pm — 10pm Private view: 7pm — 10pm
Fri 23 Aug 3pm — 10pm
Sat 24 Aug 11am — 10pm
Sun 25 Aug 11am — 10pm
Mon 26 Aug 11am — 4pm

The work features eight new musical instruments, created individually by Music Hackspace members Borja Alexandre, Dom Aversano, Tim Murray-Browne, Sus Garcia, Wallace Hobbes, Daniel Lopez, Tadeo Sendon, Panagiotis Tigas and Kacper Ziemianin. You can find out more about the process behind their creation on the Ensemble project page.

Arranged in a circle facing inwards, members of the audience are invited to explore, experiment and experience improvising music with others around them. The instruments are all digital and networked together, allowing them to subtly align in terms of harmony and tempo. Projected onto the ground between them is a visualisation showing musical connections between participants that the installation has detected.

Video by Mind the Film.

The Cave of Sounds was created by Tim Murray-Browne with Borja Alexandre, Dom Aversano, Sus Garcia, Wallace Hobbes, Daniel Lopez, Tadeo Sendon, Panagiotis Tigas and Kacper Ziemianin.

Hope to see you there!



The Cave of Sounds was created through Sound and Music’s Embedded Composer in Residence programme with the Music Hackspace. Embedded is funded by the Esmee Fairbairn Foundation with support from Arts Council England. Special thanks for support to Duncan Chapman, Atau Tanaka, Hannah Bujic, Jean-Baptiste Thiebaut, Martin Klang, Nick Sherrard, The Centre for Creative Collaboration, Troyganic, Queen Mary University of London and Mind The Film.

20 June: Jimmy Tidey and Tom Bryan present

Join us this Thursday where Jimmy Tidey and Tom Bryan will present their composition web app Rifff, a web app that allows artists to compose with a controlled element of randomisation.

Where: Troyganic Café, 132 Kingsland Road, London, E2 8DY

When: 20 June 2013, 7.30pm

Screenshot of Jimmy Tidey and Tom Bryan's app

Jimmy Tidey and Tom Bryan’s app


Rifff is a media playback platform, which enables a composer to provide alternative versions of elements of a track.

It is sample based, and so does not rely on generative synthesis, allowing the content to be totally created by the artist – Rifff does not have a ‘sound’ of it’s own, rather it is a blank canvas; all the sounds it operates with are directly created by the artist.

The composer can provide several different versions of any or all elements of a piece, and these options are then selected from based on predetermined likelyhoods defined by the composer.

It allows a composer to introduce small or large variations in their music, rather than commit to a single definitive version.

It aims to allow recorded music to change its form on every listen, and as a format could anchor a piece of music to a piece of hardware, if the end user wanted to hear every possible version of an artist’s work.

Jimmy Tidey
Web Developer / Technologist

Tom Bryan
Composer & Recording Engineer


Andrew McPherson on 6 June: TouchKeys: capacitive multi-touch musical keyboard

Join us on Thursday 6 June, Andrew McPherson from the Centre for Digital Music, Queen Mary University of London will be talking about TouchKeys, a capactive multi-touch musical keyboard.

Where: Troyganic Café, 132 Kingsland Road, London, E2 8DY

When: 6 June 2013, 7.30pm

Andrew McPherson - Capactive multi-touch musical keyboard

The TouchKeys are a DIY sensor kit for adding multi-touch sensing to any piano keyboard. Capacitive sensor overlays measure the XY position and contact area of the fingers on the key surfaces (up to 3 touches per key). Touch data can be flexibly mapped by OSC and MIDI, creating a wide variety of new expressive capabilities including vibrato and pitch bends on each note, real-time control of timbre, or microtonal tunings. This event will combine a presentation/demo of the TouchKeys capabilities with a hands-on hacking session to develop new uses for the sensor data.

More information and demo videos can be found at

The Cave of Sounds – work-in-progress demo

Thursday 16 May 2013
Troyganic, 132 Kingsland Road

Join us this Thursday to experience The Cave of Sounds at the Music Hackspace.

Daniel Lopez demonstrates his instrument The Animal Kingdom, part of The Cave of Sounds installation at Hack the Barbican Bazaar, 28 March 2013.

Daniel Lopez demonstrates his instrument The Animal Kingdom, part of The Cave of Sounds installation at Hack the Barbican Bazaar, 28 March 2013.


This Thursday the Hackspace Ensemble will be taking over the Music Hackspace with our work-in-progress installation The Cave of Sounds. This is an interactive installation with eight bespoke musical interfaces created for audience participation. Have a look at the summary for last week’s talk for more details about what it involves.

This will be an informal test and demo as a part of preparations for our exhibition at Music Tech Fest over the weekend. If you’re about either on Thursday or at Music Tech Festival please come along, have a go and let us know what you think. I’ll also be giving a talk about the project at Music Tech Fest on Friday at 5pm (tickets are still available at the time of writing).

It’s work in progress be prepared for a few glitches. Feedback will be especially welcome.

Tim Murray-Browne
Music Hackspace Composer in Residence

Tim Murray-Browne: Residency update – Introducing The Cave of Sounds

Thursday 9nd of May 2013
Troyganic, 132 Kingsland Road


This Thursday evening, I will be giving an update of my activities here as the Music Hackspace’s Composer in Residence.

Sus and Wallace of the Ensemble project working on hardware for The Cave of Sounds.

Sus and Wallace of the Ensemble project working on hardware for The Cave of Sounds.

Since November I have been working with a group of Music Hackspace members on the Ensemble Project to investigate the nature of collaboration within music hacking. Over the course of the ten month residency, each of us in this group is creating a hacked musical instrument to be showcased as a single work this summer.

Crucial to this process has been regularly meeting up, listening to and experimenting with each other’s work and responding through our own creations.

The Cave of Sounds is the outcome of this process and its form has gradually emerged alongside the identity of the group. As an interactive sound installation inviting audience members to experiment and connect through these new musical interfaces, it is an exploration into the prehistoric origins of music and its power to bind individual identities together.

In this presentation, I will discuss both the process we’ve been through and the resulting installation itself including considerations of interaction design and our efforts to magnify the collaborative experience for our audience through a system of subtle inter-instrumental communications.


Thursday 11th April, Presentation and gig by Holzkopf

Since 2001, Holzkopf has been gaining a reputation for unique, abstract and euphorically abrasive performances. Borrowing from dub mixing, noise performance, psychedelia and free improvisation, Holzkopf seeks to keep the style and sound undefinable and non-linear. Through grass roots touring networks, Holzkopf has played dance parties under bridges and in clubs, free style noise sculpture in parks and deep listening sessions in small apartments. Sounds are made through glitching cassette players, tweaking old samplers and messing with bargain bin drum machines, Performances are never repeated. As a very active performer and producer, Holzkopf’s work can be found on near 100 releases from labels in Canada, the USA, Europe and Japan.