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De-wind spectral editing in Reaper



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



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



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.

CheetSheet for application shortcuts



CheetSheet is a handy little macOS freebie utility that displays all keyboard shortcuts of an application.

Here I have added a bunch of shortcuts to the discontinued Wave Editor application for various kinds of fade curves.

Experimenting with QLab



I’m currently working on a performance/stage project named Blind Spot at Norwegian Theatre Academy in Fredrikstad. The production will be premiering in two weeks. An interesting process that I have not had much time to write about here so far, but I just want to quickly jot down some notes about a technical issue that I’m currently exploring.

If possibly I want to use QLab to control sound cues in performance. If so I still need to be able to ride volumes of ambiences and textures on the fly. It seems like I’ve managed to find a way of doing so a BCF2000 fader and Max as a middleman passing MIDI and OSC messages in this and that direction.

I also just noticed that the QLab cue files seem to be text files. As far as I can see they seem to be using JSON formatting. This might make it possible to use GIT for versioning, permitting much more experimental approaches to experimentation with cues, without the fear of breaking everything. I’ll need to do some searches and see if others have done this before, and if there are any GOTCHAS. The tect at the top of the file seems to indicate that there might be potential issues, but I don’t quite understand how, as this is a single file, andnot one of several files within a bundle:


// The pretty-printed property list below has been created
// from a binary version on disk and should not be saved as
// the ASCII format is a subset of the binary representation!


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