RESIDENCY REPORT 26.4: 1.5. 2007
My aim with testing bend sensor was to add a soft element of control to my existing setup, which I use for live performance and studio work. My existing setup consists of max/msp patch, controlled with 10 faders, switches, keys and mouse.
Employing the bend sensor, I focused mainly on volume envelope and triggering.

PREPARATION OF SENSORS:
I used bend sensors a flexible drumsticks. I put small weight on the end of the sensor stripe (a bit of tape), and then I waved the sensors in the air, making most out of regular bouncing of the sensor itself, which results in a smooth decay envelope.

SETUP:
I hooked the 2 bend sensors to my existing max/msp patch, which is a kind of sampler with 1 buffer and 4 separate playback modules. All the parameters are separate for each playback module: triggering samples, playback speed, position of playback in the sample, volume envelope, panorama, loop length, loop on/off.
I addressed the data of the sensors to the triggering and volume envelope in 2 different modes:

MODE 1:
If I wave the sensor in the air, it triggers chosen playback module(s), every time a value of the first differential crosses a defined threshold. At the same time the values of the first differential shape the overall volume envelope of the chosen playback module(s) in linear way (0=0, 127=127). The result is a multipercussive sound with a soft volume decay envelope.

MODE 2:
If the value of the first differential is smaller then a certain threshold, and the absolute value is bigger then a certain threshold, then the sensor switches to second mode which does the following:
Here both the triggering and volume are controlled by the absolute value of the sensor data. Data is scaled in such a way that bigger the value, louder the volume and faster the triggering, and shorter the small volume envelopes.
This mode comes to use when I don’t wave the sensor in the air, but when I slowly bend or straighten it.
The result is steady or accelerating and growing in volume or decelerating and decaying sound.

FURTHER DEVELOPMENTS:
For now, I would like to find a material in which I could wrap the sensor, so that it would maintain flexibility, but also keep the form more firm then at present situation. After some time of playing, the sensor bends, and its starting position is changed, resulting in different range and offset. I could also tackle this problem with calibrating, but would prefer to find a better material for the sensor itself.

VISION:
For now, I mainly see the 2 sensors as a part of my existing setup and not as an individual instrument. I think I can get a lot out of it over a longer period of time, playing and trying out different things in different setups: live improvised as well as in studio.
If I will be able to play the sensors for a while, I will probably have an idea of further developments within the possibilities of Junxion interface.
Most important for me is the softness achieved with the use of sensors, and the possibility to physically play the sounds.

COMMENTS ABOUT SENSORS AND JUNXION BOX:
Junxion box worked flawless, except the first day, when hi object in max kept loosing contact with it. This was not happening any other day, even though I haven’t done anything different.

The aim of my last residency at Steim (1-5 mai 2007) was

- programming in Lisa and Junxion
- defining what I can do with audio stream, how I can modulate, manipulate, sample sounds
- redesigning the cursor to incorporate buttons and a wireless microphone
- finding solutions through Junxion and Lisa to approach live composition
- continuing the research around the gesture and movement

First I tried to build a simple program in Junxion to allow me to use the wire like a slider.
Then I tried several ways to use the slider by using the wire differently by controlling it through tables in Lisa…

I want to work with 4 different sources: samples, streams, the resonance of the wire and my voice.
Each source will have a different role and different treatments in the compositions I’m writing for my performance.
This got me to work on presets and several scenarios and configurations of Lisa and Junxion, in a way for me of writing and composing music.
I also tackled the issues of live sequencing, recording and data coordinating in Lisa, these are things that I would like to develop and learn more about, to allow me a better and more accurate control of time and rhythm.

In order to define the buttons functions and utilities, I did several tests and manipulations with a wireless joystick. This convinced me of their necessity, and developing them and redesigning the cursor will be a major step in pursuing the project (the buttons are to change presets, to trigger sounds, to refresh the copy of the buffer…)

The workshop end of May will be a very important stage of development too.
On this workshop, the points I would like to push further are the following:
- how to establish and work on multiple predefined scenarios and compositions in Lisa that will allow a more expressive and accurate performing.
- how to master time elements, tables and patterns in order to play rhythmical scenarios.
- how to use acceleration parameters in Junxion and how can I have a better control and know-how of the scale operations in it.

A shift is currently occurring on the level of my music writing and ways of composing and performing. They are strongly based and attached to Lisa and Junxion, and on a long term level, my aim is to gain enough knowledge and experience to become autonomous in developing musical and performing ideas with them.
I definitely hope that the coming workshop will aim these objectives too.

The next steps in the development of my project are:
- starting to develop more scenarios and compositions for this device and performance
- developing the work with voice and its live treatments and sequencing
- continuing to elaborate and question the work on audio streams
- thinking of new analogies and uses of the role of the wire
- customising the cursor by reshaping it and by adding buttons

Looking forward to seeing you by the end of this month, and to read your comments over my ideas and suggestions.
I hope this project will still benefit from Steim’s support.

Lydwine is part of Locus Sonus.