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mosc
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 Posted: Fri Dec 27, 2019 10:58 am Post subject:
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| PHOBoS wrote: | 
I liked that one a lot, thanks for playing! |
Thanks
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mosc
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Blue Hell
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| Posted: Sun Jan 05, 2020 2:18 pm Post subject:
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A great redo - there was too much street noise (fireworks) on NYE one to hear your set anyway 
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also .. could someone please turn down the thermostat a bit.
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djfoxyfox
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Blue Hell
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| Posted: Sun Mar 15, 2020 5:49 pm Post subject:
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O .. I had forgotten this .. will put that image in .. it does not realy .. hmm .. comply .. or whatever .. with the other radio images .. but then again .. such will give me the freedom to change radio 6 too
Thanks for supplying an image!
Edit: ok - it's active now.
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also .. could someone please turn down the thermostat a bit.
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mosc
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mosc
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mosc
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mosc
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mosc
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mosc
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mosc
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mosc
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mosc
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mosc
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djfoxyfox
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Posted: Sun Dec 06, 2020 9:29 am Post subject:
Amazing
Subject description: My Thoughts on Musical Social Distancing |
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It's always amazing for me to hear recordings made under these socially distanced conditions. As you know, Howard is in Allentown and I am a 30 minute drive away in Nazareth. Due to the latencies inflicted on us by Ninjam over the internet, I have no idea how things are turning out while we are playing. That's very strange for a temporally-based musician. On the other hand, since Howard is transmitting our show to the radio server, he at least gets to hear what the final result will be. But that's about as far as that goes.
Temporally speaking, I am forced to ignore Howard while still reacting to what he is playing. Howard can play temporally with me but he knows that I won't be hearing what he plays until at least a second later. How anyone can get decent results under such odd conditions is amazing to me. Howard and I are both itching to be in the same room again. Fingers crossed that it might be doable by mid-year 2021.
Meanwhile, Howard and I will keep on keeping on and fully appreciate that anyone else enjoys our efforts enough to tune in once, let along weekly! At the very least, these broadcasts help both Howard and me to keep a grip on our sanity.
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mosc
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mosc
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mosc
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mosc
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Blue Hell
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| Posted: Mon Aug 02, 2021 2:11 pm Post subject:
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This one was very nice!
(and also technically good  )
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also .. could someone please turn down the thermostat a bit.
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mosc
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| Posted: Sat Aug 21, 2021 8:01 pm Post subject:
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Here at long last is Twyndyllyngs Chez Mosc performance of August 10, 2021. As is now usual, Bill is in Pennsylvania and I'm in North Carolina. We are getting used to making music via the internet.
New constraints require adjustments in how we listen and play together. The delay in each direction can be from 1/2 to 2 seconds, depending on the internet cosmos. Here's what it's like, let's just say for example the delay is 1 second.
I hear myself instantly, and I listen to Bill from 1 second ago when Bill was listening to me from 1 second ago
Visa versa
So, at a minimum. the delay is 1 second. This is the unavoidable electro-acoustical delay of the system. But for the musicians this situation is more complex.
When Bill responds to what he hears me play one second earlier, I won't hear this response to me until 2 seconds after I played. When I respond to Bill's response there is anther 2 seconds from Bill's perspective. These hear-response delays get longer and longer depending on how well we are listening at the time. For want of a better word, I call these hear-response delays, cognitive delays - they are only in our minds.
The cognitive delays are variable in both duration and amplitude, but they are often longer than the fixed unavoidable electro-acoustical delays of the system.
This is no different than when we are in the same room, only the delays are too short to notice. In this case the cognitive delays arise only from the neurological brain-minds of the musicians.
I'm fascinated by these phenomena as they are very significant in improvisational music.
| Description: |
Twyndyllyngs: Bill Fox and Howard Moscovitz
Chez Mosc August 8, 2021
Copyright 2021 Bill Fox and Howard Moscovitz
All rights reserved
Listen freely |
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| Filename: |
Twyndyllyngs-Ninjam-2021-8-10.mp3 |
| Filesize: |
53.87 MB |
| Downloaded: |
385 Time(s) |
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djfoxyfox
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| Posted: Sun Aug 22, 2021 4:37 am Post subject:
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| mosc wrote: | | I call these hear-response delays, cognitive delays - they are only in our minds. |
A very interesting explanation of the system. I have two thoughts to contribute.
[1] While Howard gets to hear exactly what is going out to the aetherverse, I have no clue because what what he hears and what he plays is what is being broadcast at that very moment. On the other hand, what I hear is from one second ago and what I play in real time will be heard by Howard and broadcast one second later. That is why when I hear this recording, I'll be hearing for the very first time what Howard and our listeners heard during the concert.
[2] Because of the delays, I find myself doing a lot of "harmonic anticipation." In real time improv, there is a lot of this going on any way.
Oooh, I just heard that epic failure of iSEM from my iPad. Back to my treatise...
Note and chord choice becomes a cognitive juggling act. What I hear in Nazareth is not what Howard will hear in Durham. What Howard hears at least is what the world will hear and what gets recorded. I have to judge the time and pitch placements of notes so that it will sound "good" on Howard's end. Since we always included the tension-and-release from the use of dissonances that arise from suspensions and other musical techniques, I count on those techniques to a new, higher level. I'm sure that there are many more such concepts but this is all that I am able to articulate at the moment.
===
With some 700 miles separation, audio delay through the air would be almost an hour. (That ignores the inverse square law that would cut the volume to inaudibility not too distant from the source.) It is amazing that we can knock down that delay by several orders of magnitude merely using an electronic system.
I wonder how the music would change by adding a third musician? In the past, we did that whenever possible and counted on change. But we were all in the same room and the changes would be "limited" to personal tastes, musical knowledge, technical knowledge, and abilities. How chaotic would the system become with these distance delays being integral?
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djfoxyfox
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| Posted: Sun Aug 22, 2021 5:04 am Post subject:
On Delay and Repetition |
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While improvising, I have always used delays and repetitions as musical techniques. One method was through the use of a looping device. Howard has a dislike of loopers while I love them. Over time, I have taught myself to moderate my looping in order to make the technique more palatable to Howard. I have met with varying degrees of success at different times. Unless I went over the top, Howard usually didn't mention my use of looping.
It is amazing that I have not integrated such a device into my performance rig since Howard moved out of state. Yes, I make extensive use of delays. (I bought one of the last T.C. Electronic Triple Delay pedals. https://www.youtube.com/watch?v=mZqkVpgcYmY) But my Akai Headrush Mk II is sitting in its box, unused.
First, there is a matter of space. Where can I put it? My stand has two levels. The lower lever has a keyboard for playing not only its internal sounds but also VSTs on my laptop. The upper level has everything else that isn't held by hand during performance. (Although, the laptop does have its own stand on my right and the iPads are on a stand to my left.) The upper level has two keyboard controllers, three audio interfaces, two powered USB hubs, the Triple Delay, and a mixer. Squeezing the Headrush onto the shelf will be a trick.
Since the mixer is a small affair and I make extensive use of its internal reverb, I don't think that connecting the Headrush to that mixer would be the way to go. However, I recently had a brainwave and may have figured out how to, electronically at least, connect the headrush. The audio interface for getting into and out of the laptop has some spare inputs and outputs. This means that anything coming into the laptop (running Reaper and Ninjam), either my signal or Howard's could be sent out the interface to the Headrush and then sent back to the interface to return signal to a DAW track... where I could process it!
Just thinking out loud...
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