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Bryan Jacobs


Bryan Jacobs is a composer, organizer, and guitarist based in New York City. His work focuses on creative uses of technology that attempt to extend the traditional instrumental performance paradigm. His work takes many forms: purely electroacoustic, live performers with electronics, mechanically modified traditional instruments, and/or autonomous sound sculptures.

His music has been performed by ensembles such as the Cleveland Chamber Symphony, The McGill Contemporary Music Ensemble, Wet Ink, International Contemporary Ensemble, Talea Ensemble, Ensemble Pamplemousse, and the pianist Xenia Pestova. He has had performances at Festival Ai-maako (Chile), La Muse en Festival (Paris, France), Festival Archipel (Geneva, Switzerland), Domain Forget (Québec), St. John’s Church (Limerick), as well as numerous other music festivals in Canada and the United States. His acoustic and electroacoustic compositions have earned him national and international awards and scholarships from the American Academy of Arts and Letters, Bourges International Electroacoustic Music and Sound Art competition, Centre for Computational Musicology and Computer Music, RTÉ Lyric FM and McGill University among others. He has participated in residencies at La Muse en Circuit in Paris and Zentrum für Kunst und Medientechnologie in Karlsruhe, Germany. He has performed his own compositions for guitar and electronics at the Stone (NYC), Miller Theater (NYC), and the Wulf (LA). In addition to his artistic endeavors, Bryan is the co-founder of Qubit, a New York based new music initiative that presents music involving technology.

Dis Un Il Im Ir

Dis Un Il Im Ir, the title, is a selection of negative prefixes. Two contact microphones are glued to six-inch long pieces of wood that are placed on the strings of the piano’s upper register muting the top two octaves. The microphones are fed into a Max/MSP patch that detects attacks then triggers synthesized events. Different types of synthesis is produced according to which of the two highest octaves on the piano are excited. Although the piece is entirely interactive there is no live audio processing on the piano or on the flute.

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