Having worked with the mysterious machine over several the years, I have come to admire the programmers who made it – way back in the stone age of music software. Obviously their alternative could have challenged MAX. If Steinberg/Yamaha had decided differently, the situation even for Ableton Live could have been another today.  In principle IPS is a tool for live performance and improvisation.  In that field Cubase is a little behind now, or what?   

The idea of IPS is simple, to trigger automatic phrases that are more or less predictable with one or more midinotes. The module gives choices on input, ie the triggering, and of course the output: tonal keys, dynamics, rhythmic patterns, midi channels, sounds etc…

IPS disappeared by the last versions of Cubase VST – about 2005 or nearby. Running the old versions can be troublesome. There seems to be no users forum. Although not an expert on Ableton - or the last Cubase versions - I would still suggest Yamaha to go archeological and dig for the original IPS principles.

Was it by the way pioneers Karl Steinberg and Manfred Rürup who programmed the thing themselves?

http://www.youtube.com/watch?v=Y9Yjr7wgwOc

Generally, I feel skeptical about compression. Consequently there is none of that. Compression is a device that automatically lower the high volumes of a recording and lift the low ones. You can apply much or just a little. It is something people tend to discuss. This is how I feel about it.

The first time I heard a digital recording – I remember it was a Schubert Lied sung by baryton Dietrich Fischer-Dieskau  - I was amazed by the dynamics and intensity. The dynamic span was obviously far beyond what was possible on vinyl records which was the normal option at the time. As far as I remember, this advantage of the CD format was generally thought of as a great step forward. The playing of CDs had more silence than LPs ever could reproduce, and more volume as well. When Fischer-Dieskau finished off a phrase, his breath was the only thing heard, not the soft rumble that even the best of vinyl record players would give you. When fortissimo the sound of his voice was fuller and louder, when pianissimo it was really very soft. “It is like being in the concert hall” someone said. And yes, the experience of listening was more like being in the room with the singer, more like going to a live performance.

When recording the piece, it is a fair assumption to say that both the singer and the accompanist would have given the dynamics some artistic attention. Dynamics are vital in order to build and release emotional tension. More dynamics means potentially more expression.

The was good news for musicians way back in the eighties. CDs gave more freedom of expression. To listeners the CDs were more like authentic live experiences. So why, literally spoken, would you compress the artistry and the authenticity by leveling out the differences in volume?

The answer is: playback systems do not always cope with both pianissimo and forte. To obtain the best possible playback on a system of average quality music producers would normally level out the differences in volume by using compression. Some loudspeakers might even break down if the loudest sounds are not dampened.

The reason for using compression is in other words situational. For most situations - out there in the world of music lovers with playback systems of all kinds - it makes sense.

For my situation not. I have decided to make music for more optimal situations when silence and good, realistic  dynamics are achievable – as being in actual concerts, through headphones or good loudspeakers. Given that compression is the norm, the decision implies that I sometimes may have to tell listeners how to adjust the playback level.

The samples are integrated in the music that I will play in the performances this weekend, music that of course is in the concept of Improlectronica. The emotional state that is reflected in the paintings seem to be perfect for the more darker sound of the Cor Anglais. Consequently I have chosen this as the main instrument for the vernissage.

On sunday I will play an more extensive improvisation, and further explore the inspiration and the musical material that I have experienced from beeing present and a part of this event.

http://www.stenersen.museum.no

More information can be found at www.giamusic.com

For dem som har vært med på samlinger innen nettverket rundt Rune og Birgit Semundseth er det opplagt at disse to dagene på Oscarsborg i vårmåneden mai blir noe helt spesielt. Kompetanse og lunt felleskap er treffende stikkord. Ordet festning får kanskje en ny betydning fra nå av? …Og det går fortsatt an å melde seg på.

The new learning and evaluation tool - Learnexpander - will be discussed, examined and critized by a large group of HR proffessionals on May 12th and 13th at the Fortress of Oscarsborg.

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