I work in biocatalysis, scientific software, creative coding, and knowledge systems.
Across laboratory analysis, audio DSP, and Obsidian automation, most of my code starts with a real point of friction and becomes a tool I want to use myself.
My PhD work is in enzyme discovery, enzyme immobilization, and flow biocatalysis.
- ChemDraw MCP for macOS: native, editable chemical drawings from a terminal or MCP client
- GeckoPlotter: HPLC and LC-MS analysis
- DarkzymeScope (manuscript in preparation)
- Bayesian Reaction Optimizer: choosing useful experiments from limited data
GeckoPlotter and DarkzymeScope will appear here when they are ready for public release.
I build Max/MSP and Max for Live instruments under Glecko. 285 is playable in the browser.
Max for Live devices
- ALTER: a five-voice polyphonic drone instrument with scale quantization and a full modulation mesh
- MAZE: a playable dual-oscillator voice with wavefolding, parallel filtering, cross-modulation, and generative sources
- DFAM27: a percussion synthesizer combining a DFAM-style core with wavefolding, cross-FM, a low-pass gate, external audio, and a large modulation matrix
- RAM: a bass-drum synthesizer built around the Shakmat Battering Ram architecture
- ADX: three linked percussion voices for metal, hats, and snare, with open and closed articulation
- ARCHER: a digital-noise and analog-chain percussion instrument with thirteen sources, nine effects, and per-hit variation
- PULSAR23-BD: a PULSAR-23 bass-drum voice with the WTF and OMG performance functions, modulation, and MIDI control
- HATS: a synthesized hi-hat voice built from metallic oscillator clusters, noise, filtering, wavefolding, and open or closed envelopes
- PLAITS: a focused Max for Live interface around the Mutable Instruments Plaits engine
- NOISE: a private generative texture instrument that morphs between four evolving sound engines
- EXPAND: a stereo saturation and bus-shaping processor inspired by the Overstayer NT-02A signal architecture
- TORSO-RING: a morphing stereo bank of forty-eight tuned resonators with sidechain and modulation systems
- RINGS: a Max for Live interface around the Mutable Instruments Rings resonator
- FILTER: a multi-model character filter covering ladder, diode, Sallen-Key, state-variable, low-pass gate, and Polivoks-style responses
- FILTER.DJ: the same filter family reduced to one bipolar performance control
- PHASELOCK: measures and corrects kick and bass alignment using delay, polarity, and continuous phase rotation
- FEEDBACK SHAPER: shapes repeated feedback passes with drive, tone, short memory, drift, wow, flutter, and dropouts
- STRANGE: a pitch-tracked nonlinear dynamics processor built from forced Duffing and Van der Pol systems
- COUNTER: extracts and sustains combination tones from incoming pitched material
- SMEAR: a period-aligned granular effect that pulls pitch-coherent fragments from the recent past
- MORPH: an earlier spectral resonator-bank experiment that led to TORSO-RING
- 285: a sixty-four-step sequencer with independent lanes, probability, conditions, controlled corruption, snapshots, and external modulation
- CHANCE: a MIDI probability gate whose value can be changed on every step
- LFO: one modulation source mapped independently to eight Live parameters, either shared or phase-scattered
- OVERPASS: routes Analog Rytm controls and decoded parameter-lock lanes into Live parameters or OSC
- BETTERBRIDGE: maps Overbridge parameters into multiple Live destinations with shaping and per-route behavior
- VOID: detects the space after a kick and turns that absence into slow modulation envelopes
- FEEDBACK SEND: sends an independent stereo copy to a chosen Live routing destination
- FEEDBACK LISTEN: receives a feedback path, measures its energy, and exposes that measurement as modulation
My work runs through an Obsidian vault connected to coding agents, retrieval, a knowledge graph, and daily automations. claude-setup contains an earlier portable version of that system.
I also built Spotify Transcript to get Spotify's own podcast transcripts into that workflow without retranscribing them.
Negative Space is where I share negative, inconclusive, and otherwise unpublishable research results from projects of any field or scale, together with what I learned from them.