► JIŽ PŘÍŠTÍ TÝDEN! ► ve čtvrtek 25. listopadu bude exkluzivně ZDE na bandzone.cz ke stažení připraveno 25 remixů k albu SONGS ABOUT LOVE AND MACHINES od těchto skupin & interpretů ► Kazety, Kill The Dandies!, Tata Bojs, MIDI LIDI, Super Tuzex Bros., MatKore, Dikolson, H1 (Leon Stevenson), Ecson Waldes, Amak Golden, Denis Keldie, Dr. Bruce Murphy, River, Steve Morell, Bodyia, Vibes, DJ Pavel Bidlo, Johana Švarcová, Kasha, Insania, PVK, P.D. Robot ◄
This is an interview with a remix robot built from the Pure Data algorithm components.
The interview was recorded straight after his succesful run of the Space Patrol remixing task which resulted in the SPPDrmx.wav sound file, 4 minutes 33 seconds long.
► Can the duration of the track be understood as a quotation of John Cage's famous composition?
Exactly, that was one of my aims during the algorithm run.
► There are also rumors that on this remix you collaborated with Karlheinz Stockhausen.
These are really only rumors, the fact is that I took the liberty of following his ...wie die Zeit vergeht... concept for the general principles of my remixing algorithm.
► What does that concretely mean?
A machine can perceive music with a different time resolution than a human. For example, I perceive the frequency border between fast rhythm and low pitch only if I want to emulate the human perception in the time and frequency domains. In the Stockhausen concept, the fundamental frequency and harmonics are arguments and products of the same class as the envelope and rhythm.
► Can you be more specific?
Of course, according to this principle I used the output from the Fourier Transform and from the Amplitude Derivative Analysis of the original tracks and used it for the control of both classic and unusual mixing processes.
► Can you name some of the not very usual ones?
Of course, for example the reproduction of the grain from a dynamic wave table.
► Can you name some of the classic ones?
Of course, for example the simple but effective sorting of stochastic events with the Moses operator.
► I am sorry I interrupted your explanation earlier, can you carry on?
Oh sure, so I set the relevance threshold very high, so that only a small number of the most significant grains could find their way into the mix.
► Can we say that a remix is simply a result of some mathematical operations applied to the set of sound tracks of the original recording?
Exactly, you can say that about a remix, however, here we have been talking about a good remix, so I'm afraid, your question has little relevance.
► And the conclusion?
I have received some indications that M1 and M2 are considering that the results of my work could earn me the identification code M3. Whether it happens or not in the end, I'm deeply moved by such possibility itself.
► Thank you for your CPU time.
