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[SPAM] Violin & Interactive Computer Piece
 

offline TroutMask from New York City (United States) on 2010-07-02 07:59 [#02385804]
Points: 472 Status: Regular



I recently performed my piece MAN QUA MAN as a senior
project at my university. The piece is for violin and
computer (SuperCollider). Its basic premise is that the
computer reacts to the violinist's input in real time,
making a flexible yet identifiable sonic environment
regardless of who is performing it. On the upside, each
performer gives his/her own unique perspective into the
piece by playing it, as the machine listening is sensitive
and elastic.

MAN QUA MAN

Any g00d?

 

offline Terence Hill from Germany on 2010-07-02 10:56 [#02385817]
Points: 2070 Status: Lurker



i dig. how much of the piece is predefined? Can you explain
the process of machine listening/creating the sonic
environment?


 

offline TroutMask from New York City (United States) on 2010-07-02 15:42 [#02385838]
Points: 472 Status: Regular | Followup to Terence Hill: #02385817



Thanks!

Basically, my software takes the input of the violinist and
knows which note to listen to, and for how long that note
should be played. The software then calculates a percentage
of how "faithful" to the score the performer was in playing
that particular note. It then uses those percentages to
determine how much "wet" signal to apply. The instrument
itself is amplified by the computer as well, so the dry
signal never goes beneath full volume.

That "wet" signal is essentially a collection of
intricately-designed acoustical modifications - particularly
real-time rate shifts, delays, and pitch modulations. That,
with my tempo-locked compression system, and my reverb
libraries, is the basic makeup of my 'sonic environment' in
this piece.

SuperCollider's machine-listening classes allow me the
mathematical freedoms necessary to do this, and its
excellent Pitch libraries are great at picking up
frequencies on the fly.

The piece then activates an unstable synth based on the
timbrel information of the violinist's input, which waits
for the first full repeat of the main melody.


 

offline fleetmouse from Horny for Truth on 2010-07-02 17:13 [#02385845]
Points: 18042 Status: Lurker



Great! It works well as a piece of music on its own, even if
I didn't have knowledge of the interesting process.


 

offline TroutMask from New York City (United States) on 2010-07-03 22:59 [#02385951]
Points: 472 Status: Regular | Followup to fleetmouse: #02385845



Thanks! I'm submitting this piece to some of the summer
electroacoustic music conferences. Hopefully they'll like it
as well.


 

offline TroutMask from New York City (United States) on 2010-07-06 05:25 [#02386092]
Points: 472 Status: Regular



I've completed another work. Check it:

LAZY_S0UNDCL0UD

 

offline Fah from Netherlands, The on 2010-07-06 15:35 [#02386139]
Points: 6428 Status: Regular



I love this type of stuff, so experimental it almost hurts
your teeth. Lovely work.


 

offline TroutMask from New York City (United States) on 2010-07-06 16:54 [#02386144]
Points: 472 Status: Regular | Followup to Fah: #02386139



It hurts your teeth? :(

 

offline Fah from Netherlands, The on 2010-07-06 20:53 [#02386173]
Points: 6428 Status: Regular | Followup to TroutMask: #02386144



Yeah, well almost though ! Don't worry, they're still
intact.


 

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