Bartosz Lomsza

If not taking to account the technical problems caused by the plugin used for the visuals. In my opinion, the performance went well.

At the beginning of the module have not had a formulated idea of how to perform. I was thinking of solo performance, but then after a few weeks, I have decided to join forces with my friend's with whom I have been working for the past two years.  We have had a few discussions about how we wanted the performance to look. Then the idea of the white clothes and the balaclavas came about first. White clothing was meant to allow projections to be displayed on it and disperse at the background. The Russian group  'Pusssy Riots' inspired the choice of balaclavas. The facial covers benefited us from the look alluding to rave culture, as not all of us had the confidence to perform this also gave us comfort and confidence during the performance. After forming the visual concept of the performance time came for the technical aspects of it. The idea of performing next to each other was what we were after this allowed for accessible non-verbal communication on the stage and accessibility to all controllers. The Ableton and my trusty (rusty) Mac was the core of the whole setup. Catrina's function was to sing her parts in the second song and to vocalise first and the third. To give her additional ability to shape her sound, we have utilised Korg Kaoss Pad with the delay effect and the synth sound to be added when needed in the intro. I have taken the role of the conducting by playing the scenes arranged before and adding the reverbs while Dan was manipulating delay effect on the tracks. The utilisation of Ableton features with the conjunction with the Dub like effects allowed for the assignment of roles and the liquidity of the performance and original blending of the one song into another.

After the performance, we have agreed that the concept of the visuals didn't quite work out as intended, however, was still delivering dynamic visuals on next occasion this error could be fixed by using different software allowing for precision scaling of the video output. I had also noticed that the stage setup was not perfect although comforting us and giving freedom and accessibility to controllers was creating disconnection from the audience especially in Dan's part when looked like he's singing to me rather than the audience. Also, Cat. should be exposed for the view and standing at the front.

One has started from looking at the rhythm and groove that are the foundation for the House music and other EDM genres. One wanted to experiment with this little bit and make it different from others. One is not a trained drummer, so only way for building rhythm is the programming. This approach gives results of the beat being very robotic like lacking the groove (fig. 1), of course, the best method to apply would be utilizing swing function in the DAW my project, however, concentrated on experiments which involve manual adjustments and shifting of the notes (fig. 2 and 3). This method is easy to do while utilizing Ableton's Push controller and doesn't take much time, but the effect is better from the swing function and allows for creating the push and pull effect to the rhythm.

Fig. 1

Fig. 2

Fig. 3

Next advancement One has made during this phase of the project was cross use of DAW's. One has been working with Ableton DAW for a very long time, knowing this DAW well is helping with the quick workflow. No DAW is perfect and felt like project lacked instruments in the arsenal, so One has decided to use a Logic X DAW along with the Ableton. This advancement resulted in learning new DAW.

One has developed effect rack in the Ableton software allowing for full of feedback wash-out effect that combines ‘Replica’ delay and equalizer. The result combines delay feedback with EQ (Fig. 5) in the way in which when set to maximum feedback is set to 84% (Fig. 6) and EQ works as high pass filter cutting all frequencies going into delay below the set point. Extra controls of delay time and feedback High cut were added to.

Fig. 4

Fig. 6

Example

Utilizing function of the freeze in Ableton’s reverb to create atmospheres.

Example

Samples and found sounds were extra ingredients in the songs, figure 7 represents this approach and the utilization as chords.

Fig. 7

Example

Found sounds recording were made with the use of the Zoom H4n recorder. One captured sounds of the old photo cameras and interesting objects found while exploring the Polish city of Torun (Fig. 8 and 9)

Fig. 8

Fig. 9

One is planning for the project to go live in the middle of the February aiming for the 13th. At first, two of the singles to be released on the digital platforms Spotify and Beatport, from this time its planned to release each following month another pair of singles with the total of the six singles by the April 2019th. It is essential for the upcoming artist to precede each of the releases with the social media campaign, for this purpose I have planned to utilise Facebook, Twitter and Instagram featuring a short video of me informing about upcoming release as well as music samples. One also planning on having the small budget (100£ per single) for the targeted adverts on the Facebook, Instagram and Spotify (adverts on Spotify to go live with the release) Along with the first two singles published on Spotify and Beatport, the artist website will go live too. For the purpose of the creating webpage. One will have photoshoots done by one of the students, due to the submissions and deadlines we had to move it on the beginning of the February what leaves not much time for finishing the website. However, in my opinion, this should be enough time for compleating it because at its beginning website will be mainly informative consisting of the artist Bio, photoshoots and the releases but I'm planning on extending the site of the Blog section and the shop section.

Schedule and Time table

January

28th Selecting tracks for the first release.

29th Further work on the arrangement for the chosen tracks.

February

1st Mixing tracks

3rd Photo session for the website and music artwork

4th Mastering tracks

7th Posting on Instagram and Facebook videos featuring tracks to be released

8th Working on the website

9th Uploading photos to the website

10th Working on the press release kit

11th Website going live

13th Project is going live with the first two singles, the material will be uploaded for the Spotify, Junorecords, Beatport

13th Advertisement campaign to go live and to last  10 day

14th Pitching music for tastemakers and YouTube channels

16th-17th Studio booking and working on next set of songs with the vocalist and recording

19th Developing new tracks

20th Sending emails to magazines whit the request for release review

23rd Recording live drums in the studio

24th Revising and analysing  ad campaign 

26th Mixing tracks with vocals

28th Mastering

March

1st Writing new tracks

2nd Further work on music

3rd Working on artwork for the music

6th Working on music

7th Music development

13th Set of two singles to be released on digital platforms

13th Setting up the advertisement campaign for Facebook and Instagram to last 10 days

14th Pitching for the tastemakers and YouTube channels

23rd Analysing the ad campaign

April

1st Mixing tracks

2nd Mixing tracks

3rd Mixing tracks

4th Mastering

5th Mastering

13th Third final release followed by an ad campaign 

Project outline

This project will help for Bartosz Lomsza to establish his place on digital platforms as a music producer, possibly generate profit and build the fan base. The project aims to create six singles created by Bartosz Lomsza on the computer with the use of Ableton and Logic X software for digital releases under the name of 'GooddaddyB'. Music created for the set of the singles is reflecting one's creativity in the field of sound design, utilising found sounds and field recordings. The Dub and electronic music have influenced this project with its music falling under the broad umbrella of the EDM with the strong indications to House genre. The project is still in the development stage with an estimated date of the first product premiere in the mid of the February 2019.

Inspirations

The set of musical compositions inspired by the creators is ranging from dub originators Lee 'Scratch' Perry, King Tubbys to music producers like Bonobo, Four Tet or Mount Kimbie and a link to the playlist with the influences is presented below.

Spotify Playlist

Bonobo

The one's musical approach derives from Bonobo's low-end arrangement and often compose the bass to play low sustained notes, this way of using continually played low bass gives space for rhymic mid frequency bass and body to a composition as well as underlines rhythm when used with the side-chain compression effect. Utilising remarkably not often heard in contemporary music ethnic instruments is a strong point of Bonobo's music, and the composed pieces are representing this through the use of sampled instruments like the Japanese koto or Persian santoor.

Dub protagonists.

A project is a sharing approach to the studio technology with the dub music originators like King Tubby and Lee Perry. Effects used in the project compositions reverberation and the delay in the particular are giving the project sense of utopian spaces. The utilisation of the delay leads to rhythmical repetition which is very desirable for music genres like House and Techno. Use of echo can also lead to exciting sound degradation result when the tape-based units or imitating it plugins are in use. Dub is notable for its emphasis on the bass and the drums. Project obtains the same importance of the bass and drums and conveys it in some of the parts. Another influence taken from the dub protagonists is their approach to music publishing. In the early years of the Dub, producers were releasing music on singles and promotion was done by the Soundsystem operators at the dances. As the Album format, its long forgotten and the music industry made a full circle going back to its predecessor single. The project will follow this trend with its releases.

Four Tet, Mount Kimbie

The project is utilising and manipulating samples sourced from vinyl records, the work of Four Tet inspires this. In Four Tet compositions, many can find that sound sample manipulation is creating stutter like melodies. This approach one achieves by dividing the sample carrying melodic information on small parts than playing it in the sequence with the repeat function set to sixteen notes. Four Tet stands out from the others when it comes to the employing samples in compositions. The one that is worth underlying is the piece called "Locked." In the track, Four Tet uses the sound of a galloping horse accompanying the main beat giving a sense of offbeat snares in use.

Method and delivery

The music created with the use of Ableton and Logic X software utilising plugins from Native Instruments, Zoom H4n, and studio available at the campus. To capture the field recording and found sounds one is using the Zoom  h4n recorder. This device is allowing to capture sound in stereo with the high a 24bit resolution and because of its handheld construction makes it convenient to have it ready whenever interesting sound occurs. One will utilise the recording studio for the recording of the vocals and drums. To record vocals, one will use Pro Tools, and appropriate microphone than recorded stems will be transferred onto one's computer for the farther sculpturing. Mixing tracks and mastering will be done "in the box" this will help to lower the cost of the production and to test one's abilities to make the complete product by self. For recording drums, one will use the same method of recorded audio file transfer as used with vocals. The microphone technique in use will be Mid-side along with The Glynn Johns technique, and then the better sounding will get featured on the track. One is aiming to deliver all tracks as separate releases on the digital platforms like Spotify, Soundcloud, Junodownload and Beatport; this approach allows for inexpensive delivery and might generate the income. Utilising the advertising options available on social media and small budget assigned for this will help with the music promotion.

Demo products.

The playlist bellow represents demo examples of the music created for the project.

Soundcloud Major Project Demos playlist

Demo 1

It is a piece that demonstrates the use of samples for creation stutter like harmonic progression Four Tet inspires this technique. The demo is featuring koto instrument playing the melodic part. The choice to utilise Japanese string instrument comes from the Bonobo's influences and might categorise this track as 'folktronica' rather than the house or deep house. The beat uses found sounds like breaking of the chopsticks and beer can. From the semiotic point of view sounds used in the drums are not cohesive this need to be changed, replacing the sound of a beer can with photo camera sounds and titled the track "Tokyo Stutter" would make it more cohesive.

Demo 2

This piece is an example of a deep house track and like in the example above because of the use of Persian santoor can be classified as 'folktronica'. Intro and build-up of the presented track featuring samples from the vinyl records serving as a chord progression. To improve this track, one needs to add movement by utilising the automatic high pass filter.

Demo 3

The piece starts with very 'airy' chords outlined by pluck melody processed by the delay. The intro leads to drop where the echoes stop and emphasised drums and bass surprising the listener. Vocal featured on the track serves as an idea for the vocalist. This demo lacks a suitable structure and this need to be improved.

Demo 4

This piece serves as an example of project going into the territory of EDM/Tropical House. The track will feature vocals from the Catherine Msuya. The easily relatable by anyone lyrics and repetitiveness should make this track more Dance music like and boost the popularity of it.

Conclusions

The initial setup took much longer than we would be expecting it, this was due to Ableton Live not recognising the midi keyboard.  Dan and I had to troubleshoot all aspects of our setup to find out what was causing the problem, after finding out that the cause was due to the internal midi setup in the DAW everything was running smoothly. The troubleshooting extended our initial setup time from thirty minutes to one hour. The setup might look very simple however the internal routing of the computers to deliver low latency and synchronised audio communication made this project very complicated.

The primary goal of this project was to observe how blind communication through musical cues at a distance would work, as well as to suggest the further implementation of this idea into an art installation based on Arduino computers rather than Ableton allowing individuals for this type of musical communication. We have intended not to rehearse a performance as being unprepared would enforce the idea of two non-musical individuals blind communicating through the music. I have noticed that the performance wasn't very engaging for the audience this could have been changed trough asking the audience for participation in this performance.

Our performance is based on blind communication over the distance we will utilise one set up in the assessment area and one set up in a different location outside of assessment area. Dan and I will start with a quick set up to ensure that all is in working order and we will establish the first connection. We will then proceed to the performance based on musical cues rather than physical or visual. There will be no particular tempo set by the Daw we intend to improvise using the set scale and phrases.

Project Name

Musical Interaction at a Distance (AKA ‘MID’) 

Roles and Responsibilities

We both will be essentially doing the same thing, only using different midi instruments and playing together cooperatively in Ableton Live using an ad-hoc network and Live Link

Theme / Stimulus

How two musicians (or more) at a distance can collaborate using blind communication in the form of musical cues using digital mediums and midi for its near latency free properties and ease of manipulation and functionality. 

Networking Means

We are literally using an online network as well as a network of people (just us two for this assessment but could be many more) to collaborate and make music together from remote locations.

Sonic Aesthetic

It will be ‘Asynchronous’ in nature, utilising two synths both linked to two independent delays. Each will have their own instrument and delay that they independently can play an effect. We will be using only one scale that we have already agreed on prior to the performance.

Technical Requirements 

We will have a MacBook Pro provided by us, however, we will also need another pair of speakers, audio interface and midi keyboard for this unit also provided by the uni. In total, we will need from the uni: 2 audio interfaces, 2 midi keyboards and 2 pairs of speakers as well as 1 Mac desktop with Ableton Live 9.

Initial Rehearsal Schedule

For this task, Dan and I used Ableton Live and its ‘Link’ function to connect both our computers over the ad-hoc network. We have shared the same Ableton template with the same instruments and settings. The performance was based only on MIDI instruments this allowed for very low latency and the real-time collaboration at a distance. The Link below is to the musical piece we created using this method:

For the task, Dan and I have been collaborating using an internet browser software as a choice. The internet is a collaborative software and thanks to applications using the internet we can connect with others to make music cooperatively. For our performance, we have chosen the Patatap website allowing for triggering samples with the use of the computer keyboard and the Typatone internet application transforming typed words into musical scapes. In our performance, we have used two computers being placed next to each other however the performance could be have done in the remote location this though, would require another software allowing for a transfer of audio over the internet. This software could be Skype or the internet messenger.

Resources: https://patatap.com/ https://typatone.com/

As I was taking a walk around park campus came across many sounds. First that I have noticed was reverberation in the corridors that give me the idea of the sounds I hear being a dub that has no set rhythm, however, I have noticed that my footsteps are creating a  certain tempo and rhythm. When I have arrived close to rehearsal spaces sound of the bass guitar was quite prominent I just thought 'this is DUB!'. While walking around the campus I have noticed many other sounds being: birds sing, cars, chatters, wind blowing and distant sounds that were unclear and created the sort of noisy background.

This is the sound-map inspired by the sound walk I have taken that day

The other sound-map was made by Dan. We have decided to choose sound-map drawn by Dan to be analysed and made music based on what can be read from its picture and the track below is a representation of this picture.

https://soundcloud.com/gooddaddyb/dub-st-4-walking-thru-the-park/s-w69I7

The idea of task two in which audience could connect and interact with the musicians is based on the theme the human connection what is a reflection of the social media.

The system that would allow the audience for participation will be based on the Facebook Live stream.

The Facebook live stream allows the audience to send one of six emoticons that would appear on the live screen feed with the performance and then the musicians would process these emoticons. For instance, each of the emoticons would be assigned to one scene launched in the Ableton DAW this scene would be a part of the song which is streamed online as the result of this action the audience would be deciding how the musical piece will develop.