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Jazzperiments

Video in TIB AV-Portal: Jazzperiments

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Title
Jazzperiments
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License
CC Attribution 2.0 Belgium:
You are free to use, adapt and copy, distribute and transmit the work or content in adapted or unchanged form for any legal purpose as long as the work is attributed to the author in the manner specified by the author or licensor.
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Release Date
2014
Language
English

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Subject Area
Abstract
Interactive musical improvisation Jazzperiments is an open source Java application which enables musicians to have an interactive 'jam' with their computer. Imagine you sing, whistle or play an instrument and your computer plays along ... not just a like a dull 'rhythm box' with some ever repeating chords, but really interactive, following your own free improvisation. Jazzperiments is a project to achieve just this, open source, based on the beautiful Gervill JavaSound library of Karl Helgason (FOSDEM veteran). ... ready to try out or even use in performances ... click on JAM and start 'jamming'. However as the system works better and better there are more and more options to improve and extend it: new user interfaces (something with a camera would be very nice to 'direct' the app), reducing latency, even more tricks with live samples etc. etc. If you combine love for programming and music (and who doesn't?) a lightning talk is long enough to challenge you to participate in any way ... and it's not just a talk ... there will even be time for a lightning concert/jam...
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Synchronization Power (physics)
Touchscreen Keyboard shortcut Bit Musical ensemble Computability theory Computer programming Theory Neuroinformatik
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Sampling (statistics) Musical ensemble
Sampling (statistics) Instance (computer science) Row (database)
Sampling (statistics) Instance (computer science)
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Interface (computing) Forcing (mathematics) Projective plane Videoconferencing Instance (computer science)
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Pattern recognition Group action Scaling (geometry) Logic Multiplication sign Moment (mathematics) Bit Instance (computer science) Musical ensemble Row (database)
Noise (electronics) Information Multiplication sign output Maxima and minima Menu (computing)
Forcing (mathematics) Multiplication sign
Personal digital assistant Forcing (mathematics) Multiplication sign Set (mathematics) Right angle Bit
thank you very much I want to talk about Jess pyramids and that's a project which is running over some time already to make interactive music and it's already started as you hear the whole idea was in originally that we wanted to do something with effects and sounds while I was playing the clarinet well you see a lot of keys on these instruments and it means that when you want to play extra sounds like a bass part which is already running then you need pedals or something but all the whole idea was
what's the more natural interface for music than a microphone and that's what
we did we hooked up a microphone and we started experimented to make automatic improvisation automatic accompaniment and stings like that I can give you a little example already what what happens
when you play clarinet with this computer program and and how it sounds so the computer listens to what I do fully aim it process the sound in a very intelligent way thanks to carl Helga's all this Java sound engine switch off the microphone for a moment and you have a kind of system which is allows you to
play play interactively in this case it plays a bass part while I'm playing the clarinet and you hear that it follows me of course you have to do with latency the thing doesn't know what you will play so it has to measure it and that takes time and that was one of the big problems with all kinds of automatic improvisation and an interactive music that latency causes delays which you can't can hear well is this the maximum speed no it isn't you can play a lot faster for instance when i play now you
see the metronome is going faster too now it's already in sync can I go even faster yes I can even go faster when you go to top speed over here now it uses
all the power it has to calculate things you get this but you see what happened this is the maximum speed it doesn't do anything with the musical speed anymore what it did at the previous speed it was a short presto note what it does now is maximum speed and it's out of sync you clear the kind of a ID that the delay is even more
nasty than the previous one although it's almost half as short but a good kind of being too late is better than being just a little bit too late and that's the idea behind a lot of thinking in this program so you see already a metronome on the screen and a computer
and a keyboard of a piano and you see all kinds of instruments mentioned there and intervals and you can do something with always musical terminology musical theory this there is a lot of computer theory inside this program but there is also a lot of musical theory so this
latency stuff that you try to solve the latency problem by playing in sync although it's a little bit too late which is better than just as the maximum speed that's the musical approach the same you can do with the accuracy of the whole system you see you listen that aware that it's quite accurate already and that is because it doesn't recognize all notes it only filters out the notes you want to recognize and it converges eventual problems with intonation of a clarinet two notes which are there in the scale as you can see on the on the on the piano keyboard on top of course
in most music you don't use all the notes which are on a piano so you can even convert more and that do you like this now we had a chromatic scale and
for instance when I choose a blue scale
my piano gets all kind of great key is a top so these notes aren't there anymore so it can't make any mistake in that respect i mean i play now you get i should play in a bluesy style but then you get another a solution for this problem of tonality well see now the notes of the only key was even changed because it notices that my first no was it see and that it has to switch the scale to the right to play
the right scale over there in fact what we what what you do in this way is that
you can make a kind of presets of
accompaniment and play quite freely we did a lot of experiments with kids and and and in schools you can play cry freely and the computer always play something which is well more or less agreeable you can handle it it it is it's a way of adding extra voices to when you're singing or when you play a clarinet or something it is actually kind of accompaniment and of course there will be improvements possible I will come to that later but it's already quite useful in that respect but I can give a little impression what you can do more could do with the system for instance when you have you can choose
all kinds of intervals you can you can set that that will play an octave lower or higher than what you play it it can play in a certain octave always so that
when whatever height I play it played notes on in a certain scale play its back and even what you can do you can invert it and now you get a very strange
effect when I play high it plays low and other way around that was low
you see this right going up and down and that's it's just fun to do it's on the website it's a java application and you can just start it and it's fast enough
to play with a reasonable computer you need kind of good microphone when you do it with the built-in microphone of a laptop you get feedback and it's it's not as nice as when you have some kind of microphone but anyone of any microphone or fewer you roses is good enough so this is the idea behind automatic improvisation automatic music making and of course you you have talked about using technology to make moral as a new musical instrument but that's nothing new people have always used technology to make music this this this instrument is built in the 19th century at the beginning of the 19th century at two copper little copper T's to close some holes now you see there are 18 of these on it and that's technology of the 19th century and you can be can be sure that it has a lot of hacking to get this done and when we have to do some hacking to use computers in a nice way for music let's I think a very good idea of course you can also go to experimental music and the previous talk I liked very much because then you see have you haven't completely different approach to muse and more experimental in fact you can do that here too we use a lot of MIDI notes in this in this program as you see all the notes which here tell till now was
meaty and also from the sun's java sound library of Carol so you have a nice set of 128 instruments you can use for everything you want but the idea was
also what can we do with samples and how we can we record samples in such a way that you can use them in music well I showed you that sorry for windows in between
um
strange sounds or everything made just right now and it's even possible to
continuously welcome to record new samples for instance when I go now it will automatically record new the tonal samples in this green voice so in four voices two voices are noisy now
that's some kind of percussion is just because I handled a microphone in a destructive way the first one is this sample of the of the tuning fork and the last one is now for instance my voice
you can put them in also in time you can move a sample sometimes it's not sometimes it does but you see that that this is more of a much more creative but also much more unpredictable way to use your instruments but of course you can use it
in many ways in video the project on John Cage last autumn and then we had not only this very technical musically technical interface but also other interfaces to use for instance here you
show the notes in harmony now it connects notes to the voices which are playing those so every force had his own character and use rodham song so you can see with snow displayed in which voice when you're fast enough but it's just fun to look at another one it's a nice
this is another display which which I like a lot no there's another one this
is one the one we did for John John Cage's project
John Cage created this music notation because it's so intuitive and it made it
further and very nice piece called area in 1952 so you see that new music isn't like my the last speaker isn't that new and I think we have when you're when you love music you have to also more or less responsibility to think of new things you did respect of course this program we worked quite a lot of time already on it already but there are lots of opportunities to improve it first of all these algorithms both musical what is smart to do when you have delay where you have to cope with or technically new engines better programming for for reducing latency or other things but there are other things which I think of it could be very nice I love it I die idee data user interface for music is in microphone you don't need anything else no pedals now button now stuff but the camera inside the computer could be used for tempo indications let's be clear when we when the directories for an orchestra he uses hands just to make gestures and why couldn't a computer recognize those other things you can think of is that there is a special hardware for Fourier analysis so which is built to measure as fast as possible the frequency of a note you could use that too so everybody who likes this ID and wants to anything to do with it or to work on it you know the website it's in the in the little booklet and and and Jess Perriman see when you type in the name you will find it soon enough when there are any questions just ask them maybe deserved some people won't want to do something with it yes more more more or less but that man sitting internet right behind you and knows a lot more about this technical stuff Carl can you please answer this question you well what in in practice ended in using MIDI notes there is no problem with late and see what so ever so you have it's fast enough simply because these notes are played and when they are played amelie of second too late and you saw what trick I do that I just play them on the right time in the timing of the music you don't find anything troublesome in that respect latency in that that is caused by the fact that the computer recognizes the voice too late and that's something that has to do with the type of instruments even with a wind instrument each note you recognize is too high to low when you start because the pressure isn't built up yet and when it was a percussion instrument or a piano every note you play starts too high because it hits with a lot of overtones and dampens little bit out so latency is inevitable but there you have a different kind of latency and what Carl said when you make samples of course these samples are recorded at the moment that someone isn't singing then I switched off everything take the sample of what what are here and move and moves on I'm sorry it's it's taken at the moment that my program isn't playing anything so then I switch off everything listen to what what the player is doing and then make a sample of it also very handy that you never have feedback yes yes that's true in fact what what you can do with with and I can and pick the setting you see that here we have
yes in this on the bottom have you have the scale can be selected automatically when you know what you want to do you don't want an automatic scale you choose one and you have a choice of scales with
know a little bit part of the screens for a fallen off but there are about 80 different scales from Egyptian Dorian chromatic blues of course it's very well known but we put f everything in it so when you say I want to play in the blue scale of C and you go then you have a very accurate recognition because it's the only recognizes the mouse it will use and the speed is also a little bit
better because you can be in the in the recognition of the notes you can be a little bit less accurate because you know that are bigger intervals between the notes that there do you cook there comes this automatic stuff in when you play what I did was it I play the C then with this automatic switching it knows I have to start in the scale of C then I can leave a little pause after for instance four bars and then move to the f and play a little bit and is it that follows it again but I must say it's this is this is you have to really get used to it so when when it went as this intuitive playing where you just let it follow and most of the time i use then a whole tone scale / or a chromatic scale which is always right or not right but this works always works and that's that they have wrought freedom whereas but I work was a group of people who think krikorian sound at the moment they know exactly what I have to do to fix always do so and they write music to sing along with this thing with their own voices yeah yes that's quite simple the logic
is that you have and you can see that over here it records notes manually then you have to switch this little button and it records in this voice or read a
yellow blue or green voice our maximum via four voices that's that's
technically on almost the maximum you can can process and so you can switch to
note menu will note once note automatic that means that it will take tonal information only recorded when you want it record it once and then keeps it or record it every time it has the chance to record something and the same is applies for noises so you can do percussion too that's different processed in a completely different way by the way because yes you can't transpose it and and stuff like that but so you can switch F for every voice you can switch to manual noise manual note input or something like that
no no when you left when you want to organize this maybe you should because it's nice when things happen by chance
but when you don't organize it and two peoples play at the same time you have a mixed sample but and it's put in one of these forces you can of course say when this and you see this white ball there
that's the red force is now ready for recording when I say you play the red voice and I have to keep my mouth shut while you are doing something but ok we did also in a museum with kids and everybody was thinking do honest time nobody knew who was who and in that case yes yes it is interviewee hit let right
now I did it of course it depends of how this setting is not ideal and with a little bit correct microphone you don't have this problem but it can when you when you change the settings a little bit it can play for hours without you being there even any other questions you see a lighting talk is long enough when it's when the subject is interesting yes is I'm all the time oh okay thank you very much for your attention Oh for you it's
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