From post 9 it was obvious that audio distribution through the network from the source to the client differs. This means that if I sent audio from one computer to the other two, they will not receive my signal at the same time but rather in different times. Also the huge latencies, mentioned in post 9 up to 7 seconds, can create a very unusual sound space from the composer and performers point of view. The 7 second latency though was not able to documented as it happened with the other latencies
The composition.
Four laptops use Ninjam and the Internet to communicate. The source of sound for the four laptops will be the same. There will be two approaches here. One is predetermined composition and the other is a live performance improvisation. For the composition and the improvisation Logic Pro 7 and a keyboard synthesizer were used. For the composition the synthesizer function as a MIDI to trigger the loaded sound files from Logic. The composition uses only piano so the improvisation performance direct sounds form the synthesizer are used. The following diagram can provide a visualisation to the thinking behind the performance and composition. The yellow line (sound) reaches all destinations the same time. Each sound distribution is achievable through the Internet. A,B,C,D are the four different laptops that uses Ninjam software. Notice that sounds from A (black) to C need less time that to D.
Another aspect of this experiment/composition has to do with the sample format for input and output. In Utilities/Audio MIDI Setup these ratios can be changed resulting to a variation of pitch and speed in relation to the source. This approach will be discussed as a future work.
The thinking behind this approach has many musical qualities. The Internet bandwidth connection, as it was monitor in post 9, is responsible for the outcome of the composition. The musical material, the notes, is not so much in the listener’s interest as the combination of them from other computers network playback. The composition that is discussed in experiment 2 has a unique outcome since every time it is performed the outcome change due to the time network traffic. Here I introduce a different aesthetic musical outcome based on the actual time that is performed. Early morning hours 05:00 am the latency will be lower than at a 20:00. At 05:00 am it is most probably to find the server free and therefore the audio will be travel faster. This indeed is an important aspect that will be discussed in relation with the compositional approach.
The aim of experiment 2 is to show two things.
1. How different latencies, can suggest different aesthetic approach based on the same musical material. How can musical material, the composition, have aesthetic rules in relation to latency?
2. Apart from the composition itself, is it possible to create sound environment using latency in a surround setup.
The composition.
There was no particular approach for doing the composition. As a starting point I have composed a short piece in order to understand better the way it worked. Having in mind the delay effect form the latency I approach the composition using mostly rhythmic patterns. As this composition is an experimental one, it will be developed through using the latency. At a first stage here is the starting score of the composition.
This is the audible midi score.
The composition.
Four laptops use Ninjam and the Internet to communicate. The source of sound for the four laptops will be the same. There will be two approaches here. One is predetermined composition and the other is a live performance improvisation. For the composition and the improvisation Logic Pro 7 and a keyboard synthesizer were used. For the composition the synthesizer function as a MIDI to trigger the loaded sound files from Logic. The composition uses only piano so the improvisation performance direct sounds form the synthesizer are used. The following diagram can provide a visualisation to the thinking behind the performance and composition. The yellow line (sound) reaches all destinations the same time. Each sound distribution is achievable through the Internet. A,B,C,D are the four different laptops that uses Ninjam software. Notice that sounds from A (black) to C need less time that to D.
Another aspect of this experiment/composition has to do with the sample format for input and output. In Utilities/Audio MIDI Setup these ratios can be changed resulting to a variation of pitch and speed in relation to the source. This approach will be discussed as a future work.
The thinking behind this approach has many musical qualities. The Internet bandwidth connection, as it was monitor in post 9, is responsible for the outcome of the composition. The musical material, the notes, is not so much in the listener’s interest as the combination of them from other computers network playback. The composition that is discussed in experiment 2 has a unique outcome since every time it is performed the outcome change due to the time network traffic. Here I introduce a different aesthetic musical outcome based on the actual time that is performed. Early morning hours 05:00 am the latency will be lower than at a 20:00. At 05:00 am it is most probably to find the server free and therefore the audio will be travel faster. This indeed is an important aspect that will be discussed in relation with the compositional approach.
The aim of experiment 2 is to show two things.
1. How different latencies, can suggest different aesthetic approach based on the same musical material. How can musical material, the composition, have aesthetic rules in relation to latency?
2. Apart from the composition itself, is it possible to create sound environment using latency in a surround setup.
The composition.
There was no particular approach for doing the composition. As a starting point I have composed a short piece in order to understand better the way it worked. Having in mind the delay effect form the latency I approach the composition using mostly rhythmic patterns. As this composition is an experimental one, it will be developed through using the latency. At a first stage here is the starting score of the composition.
This is the audible midi score.
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