Blending musicianship with cutting‑edge technology empowers students to explore sound beyond the concert hall. In this Q&A, UBC Music Alum and Electronic Arts Technical Artist at Frostbite, Daniel Tsui (BMus’19, BCS’23, MMus’24) reflects on how an introductory course sparked a passion for electroacoustic music, interactive systems, and experimental instrument design—leading to pioneering projects, advanced research, and a career shaping the future of game audio.
What inspired you to pursue the Minor in Applied Music Technology at UBC?
Growing up, I always had a passion for both technology and music, and I aspired to find a career that could combine the two. During my first year at UBC, while studying Violin Performance, all music students were required to take MUSC 119 — Introduction to Music Technology with Dr. Bob Pritchard (Dr. Bob). I remember vividly that I left these lectures feeling excited and inspired. It was clear to me that this was something I wanted to pursue further.
Electroacoustic Music and beyond!
That introductory course was crucial in leading me to later courses in the program, including MUSC 319 — Introduction to Electroacoustic Music and MUSC 320 — Computer Music. These courses explored different aspects of music technology, from the history and techniques of sound manipulation to learning how to design and code patches in Max/MSP with Dr. Keith Hamel. As I progressed through these courses, my interest in the field continued to grow, and I went on to study MUSC 419 — Laptop Orchestra and MUSC 420 — Capstone Projects.
Laptop Orchestra allowed us to freely experiment with musical techniques while combining different technologies to create interactive works with our peers. We explored a wide range of tools and systems, often integrating several technologies into a single performance. This included using KiCASS (Kinect-Controlled Artistic Sensing System) for motion capture across 25 body joints in a 3D space, building interactive performances in Unity, programming DMX-controlled lighting, working with accelerometers and gyroscopes, and using the RUBS (Responsive User Body Suit) project to manipulate audio and video in performance contexts.
UBC SUBCLASS: Daniel Tsui with fellow students. Photo: Takumi Hayashi
The Capstone Projects course allowed us to pitch our own ideas to Dr. Bob and Dr. Hamel and develop them into complete works. My project focused on 3D-printed violins and the integration of sensors to extend their expressive capabilities. I later continued my work as a Research Assistant under Dr. Bob, where I added gestural tracking to KiCASS and also subsequently developed significantly improved versions of RUBS that later evolved into the TasTE (Tracking and Smart Textiles Environments) system. This system featured an LED-lit, 3D-printed spine used in performances such as Ecdysis and Synapses. I also served as a Teaching Assistant for MUSC 419, where I supported students in developing their own capstone projects and helped them bring their ideas to life alongside Dr. Bob and Dr. Hamel.
I later pursued the accelerated Bachelor of Computer Science (BCs) and Master in Music (MMus) programs at UBC, where I continued developing both hardware and software systems for interactive music projects such as VoISE (Vocal Interactive Synthesis Environment) and WooSIE (Woodwind Sensors for Interactive Environments).
All of these experiences with Dr. Bob and Dr. Hamel helped shape my pursuit of combining music and technology. The program equipped students with both the creative freedom and the technical foundation needed to explore the full range of possibilities within music technology.
You currently work at Electronic Arts developing sound software. How did your Music Technology education prepare you for a career in interactive audio and game development?
My music technology education prepared me for a career in interactive audio by teaching me to think about sound not just as something that is composed or recorded, but as something that can respond dynamically to systems, environments, and user interaction. Many of the projects in the program required building complete systems that combined audio programming, sensors, hardware, and real-time control. Through working with tools like Max/MSP, motion capture systems, and embedded sensors, I learned how to design interactive systems where sound responds to gestures, movement, and external data. This kind of thinking translates directly to game audio, where sound systems must react in real time to player actions and gameplay events.
The program also emphasized experimentation and rapid prototyping. Whether we were building custom instruments, designing performance systems, or developing sensor-based controllers, we were constantly iterating on ideas and solving technical challenges. That process closely mirrors how interactive audio systems are developed in games.
Equally important was the interdisciplinary nature of the work. Our projects often combined programming, hardware design, music composition, and performance. That experience made it natural for me to work at the intersection of audio, software engineering, and creative design, which is exactly where interactive audio development for games exists.
“Our projects often combined programming, hardware design, music composition, and performance. That experience made it natural for me to work at the intersection of audio, software engineering, and creative design, which is exactly where interactive audio development for games exists.”
When you think about your time studying Music Technology, what aspects of that learning environment most empowered you to experiment, take risks, and pursue ideas like 3D‑printed instruments?
Dr. Bob and Dr. Hamel consistently encouraged creativity and exploration of unconventional ideas. They played a critical role in guiding students toward success while giving us the freedom to pursue ambitious concepts. They were incredibly supportive and generous with their time. It was common for them to stay late after Laptop Orchestra rehearsals to help students troubleshoot patches, debug systems, or refine project ideas. That level of mentorship made it possible for students to tackle complex and experimental work with confidence.
Below: Daniel Tsui demonstrates his Force Touch Gesturally Activated Augmented Violin (2020)
Equally important was the access to equipment and resources provided through the program. Having the tools readily available allowed us to focus on experimentation and creativity rather than worrying about how to obtain the necessary technology. This created an open and supportive environment where students could take risks, try new ideas, and develop projects that might not have been possible elsewhere.
“Equally important was the access to equipment and resources provided through the program. Having the tools readily available allowed us to focus on experimentation and creativity rather than worrying about how to obtain the necessary technology. This created an open and supportive environment where students could take risks, try new ideas, and develop projects that might not have been possible elsewhere.”
The Music Technology and New Media Award supports students who want to experiment and innovate—as you did. Why do you believe this kind of student support is important, and what impact do you hope donors can help make for the next generation of music‑tech creators?
Supporting this program means investing in the next generation of artists, technologists, and creators who are working at the intersection of music, technology, and new media. Fields like interactive audio, digital performance, and creative technology continue to evolve rapidly, and programs like this give students the opportunity to explore those emerging areas.
Financial and institutional support allows students to focus on experimentation and research without being limited by access to equipment or resources. Many of the most interesting innovations in music technology come from environments where students are encouraged to explore ambitious ideas and push creative boundaries.
By supporting initiatives like the Music Technology and New Media Award, donors help ensure that future students have the same opportunities to experiment, innovate, and develop new forms of artistic expression in an increasingly technological world.
A small donation can make a big difference!
Invest in the next generation of students exploring music technology and new media at UBC by removing financial barriers and putting the tools, training and cross-disciplinary collaboration in students’ hands. With your generosity, we can expand opportunities and build a strong network of students working at the intersection of music, technology and new media.
