Give it to me Engine, Honey

Give it to me Engine, Honey!

2016

[für Stimme und Live-Elektronik]

Eine Komposition im Auftrag des Basis Zwei Festivals Hannover.

Mit dem Fokus auf die Herausforderungen und Chancen musikalischer Interaktion zwischen Sängerin und Computer untersucht das Stück „Give it to me Engine, Honey!“das kammermusikalische Setting dieser beiden ungleichen Bühnen-Partner. Ein Computerprogramm, in Max7 programmiert, kann in Echtzeit auf Audio-Input reagieren, allerdings nur in einem in der Programmierung festgelegten Rahmen, während sich die Sängerin nahezu unbegrenzter Reaktionsmuster entsprechend ihrer vokalen Fähigkeiten bedienen kann. Das Ziel war, ein Patch zu programmieren, das genügend unterschiedliche Entscheidungsmöglichkeiten hat um die Sängerin herausfordern und überraschen zu können. Das Patch hat darüber hinaus Klangmodulationsmöglichkeiten im Rahmen von Ringmodulation, Granularsynthese, einem Vocoder und verschiedenen Delays.

2016

[for voice and live-electronics]

The piece was premiered @ Basis Zwei Festival Hanover, 2016

Concentrating on the challenges and opportunities of musical interaction between a singer and a laptop, the piece „Give it to me Engine, Honey!“ shows a relationship between these two (unequal) partners on stage. The computer can react on audio-input in real-time, but only within the limitations of defined command patterns, whereas the singer has access to an almost unlimited amount of decisions according to her creativity and vocal ability. The live-electronics are written in Max 7. The goal was to write a complex patch that contains as many different decision paths as it needs to challenge the singer (who was at the same time the developer of the patch) within an interactive sound environment. The first half consists of a composed vocal part in which the laptop is only sometimes intervening in terms of two gates that if opened add two different delay effects to the voice, the second is an improvisation with the laptop in the role of an interacting partner on stage. The Max-patch operates with in each case three variations of ring modulation, granular synthesis, filtering (comb filter), a vocoder and delays triggered by different random patterns. The piece features a very basic stage setting. There is just the singer and the laptop „facing each other“.

Recording of the premiere performance (video by Tosh Leykum):