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Multichannel audio signals in Max - part II

2018-09-25

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Back in 2006 I came up with an idea for how to make audio signal patch chords in Max have multiple channels.

A few years later I discussed the idea with Timothy Place and other Jamoma developers during a developer workshop at the fourMs lab at University of Oslo. I managed to secure some funding from the Municipality of Bergen for development, and Tim, me and Nils peters started developinbg Jamoma AudioGraph. Initially AudioGraph was called “multibær”, inspired by a dessert at a restaurant up in Holmenkollen. That name was Tim’s idea…

Jamoma AudioGraph was kind of nice, and the three of us submitted a paper for DAFx 2010 on it. However, it was CPU-innefficient and prone to crashing. Jamoma AudioGraph never became more than a proof of concept, but I’d say that the concept itself was thoroughly proven.

Today Max 8 has been released, and the Cycling’74 fairies have been delivering the feature request wish that I have been nagging tham with for the past ten years. The new set of mc multichannel objects is all that I have been dreaming for.

Now, if Ableton Live 10 now can be extended to support multichannel on its tracks in a similar way to Reaper, that would be awsome! But regardless, Xmas came early this year!

New Reaper forum for Ambisonic and 3D audio

2018-08-26

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Cockos has recently set up a dedicated Reaper forum for discussions relating to Ambisonic and 3D positional audio. Cool!

De-wind spectral editing in Reaper

2018-05-21

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I’m preparing sound material for a gig at Only Connect in Oslo coming weekend with Stacey Sacks and Katt Hernandez.

I have tried a number of different approaches to removing low-frequency rumble caused by wind ion ambisonics field recordings, and the best seems to be to apply spectral compression using the recently introduced spectral editing features of Reaper. I am so impressed with what this program is able to do! Below is Kenny Gioas demonstration of how it works.

Sound installation at Bergen Library

2018-03-07

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I have a sound installation at the music department of the Bergen Library this week as part of the Borealis Festival. This installationb was first presented last spring as part of the Gjenlyd festival. It has been adapted to this space, and runs from today through Sunday. The installation is dedicated to the memory of Morten Eide Pedersen.

Unpacking an archive, evoking memory and loss, re-animating musical fragments; sound and installation artist Trond Lossius’ Å holde øyeblikket is a moving exploration of the archive and music of the late composer and educator Morten Eide Pedersen. Based on Pedersen’s compositions, and extracts, fragments and material further processed by Trond, the installation is a series of episodes each representing a state, a situation, a material or a picture, as a series of tones. Common to each sonic moment is that it is stretched and held tight before it slips away. As a close friend of Morten Eide Pedersen, Lossius has not only evoked his musical legacy, but his impact as a human being. Eide Pedersen encouraged those around him to hold on to the moment, not only in music but also as a presence in the world and in association with others. Å holde øyeblikket was first commissioned and presented by Borealis in 2017 as part of the minifestivalen GJENLYD.

Supported by Arts Council Norway and City of Bergen.

Interview in His Voice

2017-08-03

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Gívan Belá recently interviewed me for His Voice, an online magazine on alternative and experimental music published by the Czeck music information centre. The interview is part of a series on artists and their studios.

The painting in this photo is by my good friend Apichaya Wanthiang. The other photo in the interview is from a session in May with the free jazz and electronica free imrpov band Pd Conception.

 
 
 

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