Exploring radically new modes of musical interaction in live performance
Master thesis at UCSD (Jordan Morton)
October 11, 2018
Jordan Morton write about the experiences within the crossadaptive project in her master thesis at the University of California San Diego. The title of the thesis is "Composing A Creative Practice: Collaborative Methodologies and Sonic Self-Inquiry In The Expansion Of ...
Concert presentation at the Artistic Research Forum in Bergen
October 11, 2018
We presented the project during the Artistic Reaearch Forum in Bergen on September 24th 2018. The presentation consisted of a short introduction of the concept, tools and methodologies followed by a 20 minute musical performance showing several of the crossadaptive ...
Concert at Dokkhuset, May 2018
October 11, 2018
The project held a concert at Dokkhuset on May 26th. This concert was made as a presentation of the artistic outcome, towards the end of the project. Assuming there is no "final result" of an artistic process, but still representing ...
Session with Kim Henry Ortveit
February 22, 2018
Kim Henry is currently a master student at NTNU music technology, and as part of his master project he has designed a new hybrid instrument. The instrument allows close interactions between what is played on a keyboard (or rather a ...
Session with David Moss in Berlin
February 2, 2018
Thursday February 1st, we had an enjoyable session at the Universität der Kunste in Berlin. This was at the Grunewaldstraße campus and generously hosted by professor Alberto De Campo. This was a nice opportunity to follow up on earlier collaboration ...
Crossadaptive seminar Trondheim, November 2017
November 5, 2017
As part of the ongoing research on crossadaptive processing and performance, we had a very productive seminar in Trondheim 2. and 3. November (2017). The current post will show the program of presentations, performances and discussions and provide links to ...
Adaptive Parameters in Mixed Music
October 23, 2017
Adaptive Parameters in Mixed Music Introduction During the last several years, the interplay between processed and acoustic sounds has been the focus of research at the department of music technology at NTNU. So far, the project “Cross-adaptive processing as musical ...
Session with 4 singers, Trondheim, August 2017
October 9, 2017
Location: NTNU, Studio Olavshallen. Date: August 28 2017 Participants: Sissel Vera Pettersen, vocals Ingrid Lode, vocals Heidi Skjerve, vocals Tone Åse, vocals Øyvind Brandtsegg, processing Andreas Bergsland, observer and video documentation Thomas Henriksen, sound engineer Rune Hoemsnes, sound engineer We ...
First reflections after Studio A session
September 8, 2017
This post merely sums up some of the thoughts rotating in my head right after this session in May 2017, and then again some more reflections that occured during the mixing process together with Andrew Munsie (in June). Some of ...
Session in UCSD Studio A
September 8, 2017
This session was done May 11th in Studio A at UCSD. I wanted to record some of the performer constellations I had worked with in San Diego during Fall 2016 / Spring 2017. Even though I had worked with all ...
Session with Jordan Morton and Miller Puckette, April 2017
June 9, 2017
This session was conducted as part of preparations to the larger session in UCSD Studio A, and we worked on calibration of the analysis methods to Jordans double bass and vocals. Some of the calibration and accomodation of signals also includes ...
Playing or being played – the devil is in the delays
June 9, 2017
Since the crossadaptive project involves designing relationsips between performative actions and sonic responses, it is also about instrument design in a wide definition of the term. Some of these relationships can be seen as direct extensions to traditional instrument features, ...
Live convolution session in Oslo, March 2017
June 7, 2017
Participants: Bjørnar Habbestad (flute), Bernt Isak Wærstad (guitar), Gyrid Nordal Kaldestad (voice) Mats Claesson (documentation and observation). The focus for this session was to work with the new live convolver in Ableton Live Setup - getting to know the Convolver We ...
The entrails of Open Sound Control, part one
April 7, 2017
Many of us are very used to employing the Open Sound Control (OSC) protocol to communicate with synthesisers and other music software. It's very handy and flexible for a number of applications. In the cross adaptive project, OSC provides the ...
Live convolution with Kjell Nordeson
March 23, 2017
Session at UCSD March 14. Kjell Nordeson: Drums Øyvind Brandtsegg: Vocals, Convolver. Contact mikes In this session, we explore the use of convolution with contact mikes on the drums to reduce feedback and cross-bleed. There is still some bleed from ...
Conversation with Marije, March 2017
March 20, 2017
After an inspiring talk with Marije on March 3rd, I set out to write this blog post to sum up what we had been talking about. As it happens (and has happened before), Marije had a lot of pointer to ...
Seminar: Mixing and timbral character
March 2, 2017
Online conversation with Gary Bromham (London), Bernt Isak Wærstad (Oslo), Øyvind Brandtsegg (San Diego), Trond Engum and Andreas Bergsland (Trondheim). Gyrid N. Kaldestad, Oslo, was also invited but unable to participate. The meeting revolves around the issues "mixing and timbral ...
Convolution experiments with Jordan Morton
March 1, 2017
Jordan Morton is a bassist and singer, she regularly performs using both instruments combined. This provides an opportunity to explore how the liveconvolver can work when both the IR and the live input are generated by the same musician. We did a ...
Session UCSD 14. Februar 2017
February 15, 2017
Session objective The session objective was to explore the live convolver, how it can affect our playing together and how it can be used. New convolver functionality for this session is the ability to trigger IR update via transient detection, ...
Seminar 16. December
February 3, 2017
Philosophical and aesthetical perspectives –report from meeting 16/12 Trondheim/Skype Andreas Bergsland, Trond Engum, Tone Åse, Simon Emmerson, Øyvind Brandtsegg, Mats Claesson The performers experiences of control: In the last session (Trondheim December session) Tone and Carl Haakon (CH) worked with ...
Concerts and presentations, fall 2016
December 15, 2016
A number of concerts, presentations and workshops were given during October and November 2016. We could call it the 2016 Crossadaptive Transatlantic tour, but we won’t. This post gives a brief overview. Concerts in Trondheim and Göteborg BRAK/RUG was scheduled ...
Oslo, First Session, October 18, 2016
December 12, 2016
First Oslo Session. Documentation of process 18.11.2016 Participants Gyrid Kaldestad, vocal Bernt Isak Wærstad, guitar Bjørnar Habbestad, flute Observer and Video Mats Claesson The Session took place in one of the sound studios at the Norwegian Academy of Music, Oslo ...
Seminar at De Montfort
June 14, 2016
Wednesday June 8th we visited Simon Emmerson at De Montfort and also met Director Leigh Landy. We were very well taken care of and had a pleasant and interesting stay. One of the main objectives was to do seminar ...
Project start meeting in Trondheim
June 14, 2016
Kickoff Monday June 6th we had a project start meeting with the NTNU based contributors: Andreas Bergsland, myself, Solveig Bøe, Trond Engum, Sigurd Saue, Carl Haakon Waadeland and Tone Åse. This gave us the opportunity to present the current state ...
Jordan Morton write about the experiences within the crossadaptive project in her master thesis at the University of California San Diego. The title of the thesis is “Composing A Creative Practice: Collaborative Methodologies and Sonic Self-Inquiry In The Expansion Of Form Through Song”. Jordan was one of the performers that took part in several sessions, experiments and productions. Her master thesis give a valuable report of how the collaboration was experienced by her, and how it contributed to some new directions of inquiry within the practical part of her master.
We presented the project during the Artistic Reaearch Forum in Bergen on September 24th 2018. The presentation consisted of a short introduction of the concept, tools and methodologies followed by a 20 minute musical performance showing several of the crossadaptive techniques in an improvised context. The performance was followed by a commentary by Diemo Schwarz and concluded with a plenary discussion.
The project held a concert at Dokkhuset on May 26th. This concert was made as a presentation of the artistic outcome, towards the end of the project. Assuming there is no “final result” of an artistic process, but still representing an image of where we got to during this process. To give some insight into different types of outcome, I decided to have three different ensembles, and also to use one presentation of a student production.
The program for the evening was:
Michael Duch – double bass
Oeyvind Brandtsegg – live convolver
Kim Henry Ortveit – electronics and percussion
Maja Ratkje – vocals, electronics
Oeyvind Brandtsegg – crossadaptive processing, Marimba Lumina
Ada Mathea Hoel – presentation of crossadaptive video and audio production
Kim Henry is currently a master student at NTNU music technology, and as part of his master project he has designed a new hybrid instrument. The instrument allows close interactions between what is played on a keyboard (or rather a Seaboard) and some drum pads. Modulations and patterns played on one part of the instrument will determine how other components of the instrument actually sound out. This is combined with some intricate layering, looping, and quantization techniques that allows shaping of the musical continuum in novel ways. Since the instrument in itself is crossadaptive between its consituent parts (and simply also because we think it sounds great), we wanted to experiment with it within the crossadaptive project too.
Kim Henry’s instrument
The session was done as an interplay between Kim Henry on his instrument and Øyvind Brandtsegg on vocals and crossadaptive processing. It was conducted as an initial exploration of just “seeing what would happen” and trying out various ways of making crossadaptive connections here and there. The two audio examples here are excerpts of longer takes.
Thursday February 1st, we had an enjoyable session at the Universität der Kunste in Berlin. This was at the Grunewaldstraße campus and generously hosted by professor Alberto De Campo. This was a nice opportunity to follow up on earlier collaboration with David Moss, as we have learned so much about performance, improvisation and music in general from him on earlier occations.
Earlier the same week I had presented the crossadaptive project for prof. De Campo’s students of computational art and performance with complex systems. This environment of arts and media studies at UdK was particularly conductive to our research, and we had some very interesting discussions.
David Moss – vocals
Øyvind Brandtsegg – crossadaptive processing, vocals
Alberto De Campo – observer
Marija Mickevica – observer, and vocals on one take
More details on these tracks will follow, currently I just upload them here so that the involved parties might get access.
Initial exploration, the (becoming) classic reverb+delay crossadaptive situation
Test session, exploring one effect only
Test session, exploring one effect only (2)
Then we did some explorations of David telling stories, live convolving with Øyvind’s impulse responses.
And we were lucky that student Marija Mickevica wanted to try recording live impulse responses while David was telling stories. Here’s an example:
Story with Marija’s impulse responses
And a final take with David and Øyvind, where all previously tested effects and crossadaptive mappings were enabled. Selective mix of effects and modulations was controlled manually by Øyvind during the take.