Introductory session, NTNU, Bernt/Øyvind

Date: 26 April 2016

Location: NTNU Mustek

Participants: Bernt Isak Wærstad, Øyvind Brandtsegg

Session objective and focus:

  1. Test ourselves as musicians in cross adaptive setting. We have usually been the processing musicians, now we should test ourselves as the victims of automated processing.
  2. Make a simple test session for Live / M4L, for Bernt’s setup

Takes:

  • 4 introductory and testing takes.Effects and mapping:Vocal: Reverb. Guitar pitch controls reverb decay time. High pitch= long reverbGuitar: Delay. Vocal transient density controls delay feedback. Low density= max feedback
    2016_4_Bernt_1_take5 2016_4_Bernt_1_take5

    Take 5: Increase sensitivity. Also control reverb mix and delay time.

    Comments:

    * take 5 is the take where something interesting starts to happen

    * It seems like the control of both feedback and delay time (xfading to avoid pitch glide on delay time change) makes a musically more diverse ground for interplay.  Also (guitar) control of reverb mix (actually send level) works similarly, to increase the dimensionality of interaction.

    * The analysis is not flaw free, so some unintended glitches in parameter changes occur

    * We would like to have analysis for tone/noise (flux or flatness or similar), and also more stable pitch analysis and more robust transient density.

Westerdal session April 2016

Session at Westerdal ACT, OSLO

Participants: Ylva Øyen Brandtsegg, Øyvind Brandtsegg

Objective: Studio use of cross_shimmer effect

Takes

2016_4_Ylva_1_first_reflection 2016_4_Ylva_1_first_reflection

Take 1: Cross_shimmer: Vocals as spectral input, Drumset as exciter

2016_4_Ylva_2_the ghost_and_the_mirage 2016_4_Ylva_2_the ghost_and_the_mirage

Take2: As above, another take on the same musical goal

Comments:

* Feedback not an issue in the studio setting, so the effect can be fully used as intended.

* The spectral input is taken from Øyvind’s vocal

* The musical effect works as highlighting and prolongation of features/pitches from the vocal input.

* The use of drum set as the exciter lends a more independent feel to the rhythmic action, but perhaps this evaluation is because it is not Øyvind who is playing the exciter signal (as compared with the Tape to Zero session)

*Subjective evaluation: This works quite well

* We would like to optimize the effect so that the analysis stage spends less CPU. It is  currently more CPU heavy than Hadron (1.5x)