In 2021 I was honoured to became one of the first wave of Max Certified Trainers in the world and the only one outside the US.

For more details visit: https://cycling74.com/certified-trainers

On April 23-25th 2020 I supporting Ableton on their stand at the awesome Superbooth synth expo at the Fez in Berlin. Its an awesome event and one of the highlights of the year. Come catch up with some good friends, play on some cool gear and see some awesome performances.

For more details visit: https://superbooth.com/en/landing.html

On Feb 8th 2020 I will be delivering a two workshops and a lecture at the Question Session Glasgow on behalf of Ableton. In the first workshop I will guide participants through the creation of a Dub Delay audio effect device via Max For Live and Live 10. Designed for experiential audio manipulation, the Dub Delay device provides tempo sync and filters to sculpt audio into new rhythmical forms. The second workshop and lecture are in collaboration with the awesome Milton Mermikides and enables musicians of all styles to tap into this vast and profound craft of ‘data-music’. This long-established but niche craft has now been given a profound renaissance with contemporary technology: Ableton Live with bespoke Max for Live devices allow a world of real-time music creativity beyond the limits of human imagination. We will demonstrate such techniques as the automatic translation of your name into melodies, works of art into rhythms, spider webs into virtual harps, live weather reports into MIDI controls and countless other possible translations. This approach provides a uniqueness and profound meaning to your music-making whatever your stylistic interest, allowing you to tap into the infinite and uncharted universe of musical creativity.

For more details visit: https://www.questionsession.co.uk

On Feb 7th 2020 I will be delivering a masterclass at Glasgow's subSine Academy of Electronic Music in collaboration with the awesome Gavron McKenzie from Audio Mogul . The master class theme is on the the work of Drexciya - the anomaly to hail on Mike Banks Underground Resistance label who stood out from other electronic music artists to hail from Detroit, conveying a story of deep sea dwellers with a sonic approach to soul via the machines they used to create their unique sound. The men behind this would prefer to stay anonymous and let the music, art and mystic tell the story, with influence from SC-FI novels, Motor City, Afro Futurism and Slavery - Drexciya was born and the story began for Gerald Donald and James Stinson as a music making duo. The master class explores Drexciya's moral role in electronic music production alongside identifying synthesis techniques and sampling methodologies they may have deployed in their work.

For more details visit: https://www.subsineacademy.com

On Jan 27th 2020 I will be delivering a workshop at the CTM Festival Berlin on behalf of Ableton. I will guide participants through the creation of a sample playback device via Max For Live and Live 10. Designed for experiential audio manipulation, the sample mash device utilizes random number generators to warp, twist and sculpt audio into new forms. Participants can leverage the possibilities of Max For Live audio buffer manipulation to create a unique bespoke audio processing tool.

For more details visit: https://www.ctm-festival.de/festival-2020/calendar/2020/01/27/ableton-sample-mash/

On Nov 31st I'd presented two workshops at Ableton UK's University Tour 2019 at the University of Winchester, UK. The first was to Lecturers and Staff and explored how to maximise the use of the Ableton product line within HE curriculum. The second was to BA (Hons) Music Technology students and focused on the creative application of the synthesis architectures Subtractive, FM and Wavetable.

Thanks to Martin Delaney https://www.instagram.com/abletonlive.london/ for the picture.

In Nov 2019 I was honored to take part in the excellent Eufonia festival in Berlin, demonstrating the profound craft of ‘data-music’. Weather Report is a sonification based on the temperature and wind speed of fours cities: Berlin, London, Pasadena and Tokyo. Data is pulled in real time via the Dark Sky API and via Ableton Live and Max For Live, it is used to generate musical information that is processed and fed to various sound synthesis tools creating an experimental electronic piece. As the core of the piece is based on the changing weather conditions in each city, each performance is different. The sonification’s methodology and workflow was described, with the aim to instill a uniqueness and profound meaning to participants music making, whatever their stylistic interest, allowing them to tap into the infinite and uncharted universe of musical creativity.

For more details visit: https://www.eufonia-festival.com

CDM's Peter Kirn delivers a review of the Wave Weld, showing some love for its waveshaping features.

For more details visit: https://cdm.link/2019/02/generate-wavetables-free-ableton-live

I am proud to annouce the release of The Wave Weld, a free algorithmic wavetable generator designed to create wavetables for any wavetable synthesis device. This includes Ableton's Wavetable, Native Instrument's Absynth, xFer Records Serum and Meta Function’s flagship paraphonic hybrid synth, The Wave Junction.

For more details visit: http://metafunction.co.uk/wave-weld

I am proud to annouce that I delivered a Max For Live masterclass for Computer Music Magazine which is featured in the January 2019 issue. Span across eight pages, with an accompanying hour long video, I walk you through the
process of creating your first Max For Live device: a simple digital distortion effect called Computer Music Degrader.

For more details visit: https://www.youtube.com/watch?v=tkXz8sf-KwU

I'll be presenting two workshops at Ableton's Univeristy Tour in Jan 2019, with the awesome Milton Mermikides.The first is at the University of the West of the Scotland in Glasgow and the second is at Edinburgh College. We will be delivering our 'Breaking Out of 4/4 Time' presentation that we delivered at Loop 2017: explorsing the universe of rhythmic expression possible by challenging, bending or breaking the normative 4/4 or binary paradigm. This is via a M4L driven toolkit (informed by musicological and cognitive research) that empowers the musician to start exploring rhythmic dissonances both within and beyond the 4/4 binary mindset.

I'll be presenting two workshops at Ableton's Loop summit in Nov 2017. The first, entitled 'Breaking Out of 4/4 Time', is with the awesome Milton Mermikides and explores the universe of rhythmic expression possible by challenging, bending or breaking the normative 4/4 or binary paradigm. This is via a M4L driven toolkit (informed by musicological and cognitive research) that empowers the musician to start exploring rhythmic dissonances both within and beyond the 4/4 binary mindset. The second is entitled 'Learning Synthesis by Example: Wavetable', which explores creative and technical concepts surrounding wavetable synthesis using bespoke M4L devices, alongside musical application and a strengths and weakness / compare & contrast analysis.

We Are Robots is a brand new music festival themed on the future and innovation of the music industry, including live performances, a day time conference, sound installations, DJ workshops and exhibitions. It runs at The Old Truman Brewery, London 2-5th Nov 2017. I will be a speaker on a panel discussing 'The Future of Music Tech & Music Production' on Thursday 2nd at 11am, alongside representing Abelton in the capacity as an Abelton Certified Trainer in their exhibtion space.

KISS, the annual Kyma International Sound Symposium, is talks, workshops, demos, and live performances presented by Kyma practitioners, all connected by a unifying theme. This years theem is Augmenting Reality, and the symposium is held in Oslo, Norway 12-15th October 2017. This year I will be supporting colleagues from the London College of Music, Charlie Norton and Leaf Hillyer, delivering a presentation entitled 'The Augmentred Wormhole' on Sunday 15th Oct at 2pm.

In this video, Meta Function demonstrate various granular synthesis techniques with a Symbolic Sound Paca sound computer running Kyma 7.

In July I was lucky enough to see Kraftwerk perform the Tour De France LP Live in Dussledorf at the opening of the Tour De France 2017.

In this video, Meta Function demonstrate various synthesis techniques with a Roland MKS80 & MPG80 Super Jupiter.

In this video, Meta Function demonstrate processing a vintage Moog Minimoog Model D via an Eventide H8000FW FX processor.

I saw Depeche perform Live at the Olympic Stadium in London in June 2017. They had the same band they used when Fad Gadget supported them on the tour for the Exciter LP in 2001.

In this video, Meta Function demonstrate sequencing a Roland TB303 with the Devil Fish mod via the Sequentix Cirklon.

In this video, Meta Function demonstrate filter routing on the Wave Junction, a Max For Live synthesizer developed in partnership with Sonicstate.com. The Wave Junction is a four voice paraphonic synth with two multi-mode osc, three multi-mode filters, five LFOs, five Envs and a twelve slot modulation matrix.

In May 2017, as the Chair of the London Commitee of the AES UK I chaired a Question Time style panel at Dolby HQ London that explored the relatiomship between technology and creativty.

L to R: Sarah Yule - Director of Channel Sales ROLI, me, Milton Mermikides – Head of Composition University of Surrey, Mandy Parnell – Mastering Engineer, Justin Fraser – Engineer / Mixer Avid Certified Master Instructor, Justin Paterson - Associate Professor of Music Technology London College of Music University of West London.

In this video, Meta Function demonstrate oscillator & filter modulation on a Roland SH5.

In this video, Meta Function demonstrate filter modulation patching on an ARP 2600.

In this video, Meta Function demonstrate oscillator modulation on a RSF Kobol Xpander I & II.

In April I visted Superbooth 2017. Awesome event. Caught up with some good friends, played with some cool gear and saw some awesome performances.

In this video, Meta Function demonstrate pulse width modulation across four oscillators on a Synthesizer.Com 44 space system.

In April 2017, Meta Function's The Wave Junction was released via our partners at Sonicstate. The Wave Junction is argubly one of the most powerful synths available in the M4L format featuring two multi-wave oscillators with user Wavetables and FM, three multi-mode filters (LP/HP/BP 2+4 Pole, Transistor model, Diode model), five full featured LFOs, five ADSR envelopes and a twelve slot Mod Matrix where fourteen modulation sources can be mapped to up to thirty modulation destinations.

In January I representted the Big Bear Audio brand at the 2017 NAMM show in Anaheim, CA. BBA manufacture the MP1 and MP1+ 500 series mic pre's which feature a discrete Class A mic/line amplifier with interchangeable DIYRE colour slot.

In Jan 2017 Meta Function released The Mono Junction M4L synth in collaboration with our friends at Sonicstate. The Mono Junction is a single oscillator synth with multiple wave shapes (including an interesting PWM mode) and several emulated filter responses (i.e. EMS/TB303/Moog).

The Data Glove Sequencing & Synthesis System allows non-technicians & non-musicians alike to play with sound via hand gesture control. Via a simple non-technical GUI novice users can manipulate sequencing & synthesis parameters in real time via 10 flex sensors & a 9 degrees of freedom inertia measurement unit. Flex pressure & pitch, roll & yaw can be used to adapt parameters such as sequence direction, pattern, tempo & subdivision - alongside synthesis parameters such as filter brightness, wave-shape, resonance and slide. Twist the sound via control of FX including size, number of repetitions & width. Learn the system & manipulate sound in real time - all without technical or musical knowledge.

We are living through a unprecedented time within the landscape of music production. The democratisation of music technology has empowered anybody to be a producer. Almost any aspect of a performance or a sound can be perfected within a DAW at the click of a button. The power or mobile technology such as the iPhone has led to a surge of creative possibilities available via platforms such as iOS and Android. It is now possible to have access to technology via the latest generation of smart phones that was unimaginable by the early recording pioneers. As we grow into the new century, will we approach the predicated ‘technology singularity’? Are we destined to be a civilization of prosumers? Where next will technology take the landscape of music production?