Exploring radically new modes of musical interaction in live performance
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 Michael Duch
February 22, 2018
February 12th, we did a session with Michael Duch on double bass, exploring auto-adaptive use of our techniques. We were interested in seeing how the crossadaptive techniques could be used for personal timbral expansion for a single player. This is ...
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 ...
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 ...
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 ...
Liveconvolver experiences, San Diego
June 7, 2017
The liveconvolver has been used in several concerts and sessions in San Diego this spring. I played three concerts with the group Phantom Station (The Loft, Jan 30th, Feb 27th and Mar 27th), where the first involved the liveconvolver. Then ...
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 ...
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 ...
Session with classical percussion students at NTNU, February 20, 2017
March 10, 2017
Introduction: This session was a first attempt in trying out cross-adaptive processing with pre-composed material. Two percussionists, Even Hembre and Arne Kristian Sundby, students at the classical section, were invited to perform a composition written for two tambourines. The musicians ...
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 ...
February 16, 2017
Docmarker During our studio sessions and other practical research work sessions, we noted that we needed a tool to annotate documentation streams. The stream could be an audio file, a video or some line of timed events. Audio editors and ...
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, ...
Crossadaptive session NTNU 12. December 2016
December 16, 2016
Participants: Trond Engum (processing musician) Tone Åse (vocals) Carl Haakon Waadeland (drums and percussion) Andreas Bergsland (video) Thomas Henriksen (sound technician) Video digest from session: https://www.youtube.com/watch?v=ktprXKVdqF4&feature=youtu.be Session objective and focus: The main focus in this session was to explore other ...
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 ...
Multi-camera recording and broadcasting
November 21, 2016
Audio and video documentaion is often an important component of projects that analyse or evaluate musical performance and/or interaction. This is also the case in the Cross Adaptive project where every session was to be recorded in video and multi-track ...
Session 19. October 2016
October 31, 2016
Location: Kjelleren, Olavskvartalet, NTNU, Trondheim Participants: Maja S. K. Ratkje, Siv Øyunn Kjenstad, Øyvind Brandtsegg, Trond Engum, Andreas Bergsland, Solveig Bøe, Sigurd Saue, Thomas Henriksen Session objective and focus Although the trio BRAG RUG has experimented with crossadaptive techniques in rehearsals and ...
Session 20. – 21. September
September 30, 2016
Location: Studio Olavskvartalet, NTNU, Trondheim Participants: Trond Engum, Andreas Bergsland, Tone Åse, Thomas Henriksen, Oddbjørn Sponås, Hogne Kleiberg, Martin Miguel Almagro, Oddbjørn Sponås, Simen Bjørkhaug, Ola Djupvik, Sondre Ferstad, Björn Petersson, Emilie Wilhelmine Smestad, David Anderson, Ragnhild Fangel Session objective and focus: This post is a description of a session with 3rd year Jazz students at NTNU. It was the first session following the intended procedure ...
Mixing with Gary
June 16, 2016
During our week in London we had some sessions with Gary Bromham, first at the Academy of Contemporary Music in Guildford on the June 7th , then at QMUL later in the week. We wanted to experiment with cross-adpative techniques ...
Mixing example, simplified interaction demo
May 24, 2016
When working further with some of the examples produced in an earlier session , I wanted to see if I could demonstrate the influence of one instrument's influence of the the other instruments sound more clearly. Here' I've made an example where the ...
Introductory session NTNU, Trond/Øyvind
May 13, 2016
Date: 3 May 2016 Location: NTNU Mustek Participants: Trond Engum, Øyvind Brandtsegg Session objective and focus: Test ourselves as musicians in cross adaptive setting. MEaning, test how we react to being in the role of the processed Test out different mappings, ...
Introductory session, NTNU, Bernt/Øyvind
May 13, 2016
Date: 26 April 2016 Location: NTNU Mustek Participants: Bernt Isak Wærstad, Øyvind Brandtsegg Session objective and focus: Test ourselves as musicians in cross adaptive setting. We have usually been the processing musicians, now we should test ourselves as the victims ...
Westerdal session April 2016
May 13, 2016
Session at Westerdal ACT, OSLO Participants: Ylva Øyen Brandtsegg, Øyvind Brandtsegg Objective: Studio use of cross_shimmer effect Takes Take 1: Cross_shimmer: Vocals as spectral input, Drumset as exciter Take2: As above, another take on the same musical goal Comments: * Feedback not ...
Tape to zero 2016
May 13, 2016
Concert : Tape to zero festival, April 21 2016, Victoria Jazz, Nasjonal jazzscene Oslo Participants: Maja S.K. Ratkje, Siv Øyunn Kjenbstad, Øyvind Brandtsegg The objective, in the context of this research project, was live use of the "cross_shimmer" effect, testing musical applications ...
Jazz ensemble, spring 2016
May 13, 2016
Experimental session in the context of ensemble teaching at the jazz dept at NTNU, April 2016. The objective was to test some simple interaction modes, starting with cross adaptive amplitude control. How will the musicians react to this kind of interaction? ...
Experimental session in the context of ensemble teaching at the jazz dept at NTNU, April 2016.
The objective was to test some simple interaction modes, starting with cross adaptive amplitude control. How will the musicians react to this kind of interaction? Even simple amplitude control over the other instrument is a quite drastic intervention. In addition we tested a cross adaptive resonator effect, where the resonators were tuned by one instrument and excited by the other.
Participants: Vilde Aakre Lie, Cecilie Grundt, Magnus Skaug, Christian Alexander Cuadra, Tore Hodneland, Ingrid Øygard Steinkopf, Julian Bjorå, Frederik Villmow, Vebjørn Mamen, Harald Relling Nielsen, Wilhelm Westerman, Aasmund Mathias Smidt, Øyvind Brandtsegg, Trond Engum, Andreas Bergsland, Gary Bromham
Takes, day 1:
Take 1: Cross_shimmer. Vocals/Sax(exciter)
Take 2: Cross_shimmer. Guitar/Drums(exciter)
Take 3: Cross_shimmer. Vocal/Vocal(exciter)
Take 4: Amplitude gating: Each instrument only has sound if the other one also plays simultaneously.
Take 5: Amplitude gating, as for track 4. There seems to be some amount of direct sound (not amplitude gated). Possibly as a result of leakage, routing, or mix decision (undocumented)
Take 6: Quartet: 2 Vocal, 2 Drums. We use amplitude gating, but the result is not very clear. Complex interaction between 4 performers, and also signal leak between performers.
Takes, day 2:
Take 1: Sax/Git: cross-adaptive amplitude gating
Take 2: Sax/Git: one more attempt with same setting.
Take 3: Pno/Dr. Amplitude gating, also controlling reverb send to try to enhance the audibility of the signal interaction.
Take 4: Bass/Git. Amplitude gating.
Take 5 : Cross_shimmer. Git/Pno( exciter).
due to the way the piano triggers resonances, and also the filters of the shimmer effect creating an “old time rotten piano” kind of color which is kind of nice.
Take 6: Cross_shimmer. Pno(?)/Git(exciter).
due to the way the guitar triggers piano resonances, and attins an almost voice-like quality. Sometimes the resonator and the exciter will have clearly overlapping spectral content, leading to slight imbalance in the output. Perhaps the (later implemented) feedback control mechanisms can also be applied to the exciter input, checking for spectral overlap and adjusting pre-eq accordingly.
Take 7: Cross_shimmer. Bass/Dr (exciter)
Take 8: Cross_shimmer. Sax/Dr (exciter)
Take 9: As above, but using lower Q and more source. The sound of the sax is undocumented, but I assume there is also a cross_shimmer effect on the sax (drums as resonator input, sax as exciter). So,
I (ØB) know I had this in the routing setup for the session, so it is highly likely that this is the effect.
Many of the comments are summed up from 2 days of working. More specific comments (done in retrospect) at the end of the document.
* Musicians: Unfamiliar situation. Want to work more to get into this method
* Direct acoustic sound is a problem. Less effect from processing
+ Possible to accentuate the other musicians playing/expression
* Can make
one common instrument
, making “sound-blobs” together (amplitude control so that the other musician has sound only when the first is playing, and v.v.)
* When there is a high degree of sound leak between instruments (e.g. between Piano and Drums), the cross-adaptive amplitude gating works more to the effect of
opening the room
than actually full mute of each other’s sound. This also relates to the amount of direct acoustic sound of course, so that it is impossible to fully mute the sound (for the performer playing the instrument).
+ These techniques may be used to build a musical form, enhancing structural elements.
+ Works well on speech/conversations, like accidentally captured fragments of conversations between the two performers.
* Musicians are seeking for
in this context. The situation is very flexible (and undefined as of yet), so many roles are possible. Perhaps the quest for new kinds of musical roles is one core element in these investigations(?).
Cross adaptive shimmer effect:
. “Very unique and strange sounds”. Fragile and crisp.
+ Common (collective/unifying) form concept. Follow each other. Collaboration
– Danger of peaking signal, especially on overlap(?)
– The shimmer effect sounds the same always. Make a variation with a huge number oof bands and low Q (more like modal reverb)
– Two-way cross_shimmer was very undefined/unclear. Perhaps the signal routing was not correct?
* Try to use these kind of techniques also for spectral inversion. E.g. instead of amplifying/resonating on the frequencies/partials from instrument 1, do try to make an inverse spectral shaper so that instrument 2 will only have energy in the frequency bands where instrument 1 does not.
Reflections when listening (a month later)
* The cross_shimmer effect allows for a softer kind of interaction, since the interaction is very easy to understand. Less surprises and uncertainties than with artificially/contrived mappings to any effects parameter.
* Cross_shimmer always sound “bell-like”. Try to use significantly less Q to enable a gentler kind of sonic imprint on the exciter sound.
* Cross_shimmer fix: Sometimes the resonator and the exciter will have clearly overlapping spectral content, leading to slight imbalance in the output. Perhaps the (later implemented) feedback control mechanisms can also be applied to the exciter input, checking for spectral overlap and adjusting pre-eq accordingly.
* Amplitude gating is very effective as a means of demonstrating this kind of interaction. But it can quite unnatural due to unmotivated volume changes on the affected instrument. Still, a good way to train interaction, easy for musicians to understand. A drawback is that the musician often will hear the acoustic sound of the instrument directly, so the gating is less prominent for the player than for the audience.
* Amplitude gating seems also to invite the performers *not to play* when the other player does not. Quite a natural mechanism. But it is indeed interesting when we can hear the sound being triggered by the other player, so we should perhaps invite them both to also play separately asa well as together.