Abstract
Algorithmic procedures for the cutting and splicing of audio can be iterated to explore the technique of recursive audio cutting. The author investigates both implicit (intuitive) and explicit (analytic) methodologies applicable either to prerecorded signals or to continuous streams in real time, with an emphasis upon practical implementation. The techniques can be of immediate use as special effects for audio processing, as well as in deeper explorations of fractal music. This work has grown out of a broader search for new audio cutting procedures. Analysis is also provided of the trends exposed by such routines in relation to the order of recursion employed. An appendix connects this work to the subject of time-map representations, and a glossary is provided for the terminology of cuts employed.
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