Following our exploratory performance and while it's all still fresh:
Vocabulary - Ways in which I was able to consciously find common ground with individual performers:
1) with Adam: Semi-dense "wooden" hits, controlling my concatenative synthesis module. Noisy bowing.
2) with Jules: Sampling my bell and buffer scrubbing while playing fragmented rhythms. Waveshaping.
3) with Lauren - Irregular snare rimshots with her Machinedrum samples. Comb filtering worked too.
4) with Frauke - Pitched cymbal bowing producing fast pulses imitating her vocals, controlling my "+++" synthesis module.
5) with Rob - Classic free improv guitar/drums drumming. Bowing.
6) with Sean - Clean feedback gestures worked well with his synth (I remember some reverb from his part but might be wrong).
7) with Owen - Spectral freezing and pitch shifting to meet him down in the low pitch areas.
8) with Bill - Playing on the wooden part of the drums with my plastic brush sticks alongside his clicky(?) sounds (quite possibly his clarinet's keys).
Things that didn't work for me:
1) I didn't feel comfortable with Marinos' placement as I was looking at his back and couldn't engage with his sound based solely on this positioning.
2) Similarly, with Radek being quite far from me (and not being familiar with his instrument as I am with Jules' and Lauren's so that I can make informed guesses, or having an acoustic instrument like Emma and Adam so that I can respond to a big extent to visual cues), I don't think that I was able to make a direct connection.
3) Amit's speaker was turned completely to the other side facing the audience so unfortunately I wasn't able to hear much of what he was doing.
Things worth exploring:
1) Positioning - I think that a circular configuration would work better, even if some have their backs turned to the audience (I don't mind being one of them). Since we're using mono, one output of the sound card could be facing inside the circle and the other to the audience (given we have another 3-4 speakers).
2) Not all instruments are the same. We should perhaps devise groupings based on instrumental responsiveness - from slower gradual, to faster instant responsiveness (or role). Either 3 groups, each having one of each (ie slow/medium/fast x 3), or 3 homogeneous groups (fast/fast/fast, slow/slow/slow and so on.) Odyssey's embedded narratives could perhaps be relevant to that?
See you all tomorrow!
Vocabulary - Ways in which I was able to consciously find common ground with individual performers:
1) with Adam: Semi-dense "wooden" hits, controlling my concatenative synthesis module. Noisy bowing.
2) with Jules: Sampling my bell and buffer scrubbing while playing fragmented rhythms. Waveshaping.
3) with Lauren - Irregular snare rimshots with her Machinedrum samples. Comb filtering worked too.
4) with Frauke - Pitched cymbal bowing producing fast pulses imitating her vocals, controlling my "+++" synthesis module.
5) with Rob - Classic free improv guitar/drums drumming. Bowing.
6) with Sean - Clean feedback gestures worked well with his synth (I remember some reverb from his part but might be wrong).
7) with Owen - Spectral freezing and pitch shifting to meet him down in the low pitch areas.
8) with Bill - Playing on the wooden part of the drums with my plastic brush sticks alongside his clicky(?) sounds (quite possibly his clarinet's keys).
Things that didn't work for me:
1) I didn't feel comfortable with Marinos' placement as I was looking at his back and couldn't engage with his sound based solely on this positioning.
2) Similarly, with Radek being quite far from me (and not being familiar with his instrument as I am with Jules' and Lauren's so that I can make informed guesses, or having an acoustic instrument like Emma and Adam so that I can respond to a big extent to visual cues), I don't think that I was able to make a direct connection.
3) Amit's speaker was turned completely to the other side facing the audience so unfortunately I wasn't able to hear much of what he was doing.
Things worth exploring:
1) Positioning - I think that a circular configuration would work better, even if some have their backs turned to the audience (I don't mind being one of them). Since we're using mono, one output of the sound card could be facing inside the circle and the other to the audience (given we have another 3-4 speakers).
2) Not all instruments are the same. We should perhaps devise groupings based on instrumental responsiveness - from slower gradual, to faster instant responsiveness (or role). Either 3 groups, each having one of each (ie slow/medium/fast x 3), or 3 homogeneous groups (fast/fast/fast, slow/slow/slow and so on.) Odyssey's embedded narratives could perhaps be relevant to that?
See you all tomorrow!
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