Music 680: Electronics in Performance
Fall 2004
Lecture 8: November 15, 2004

George Lewis / Voyager
Matt Ingalls / CLAIRE, cecil

MIDI input (from pitch-tracking) and output (to hardware synthesizers)
concentrating programming effort on input analysis and output generation

CLAIRE structure
	two inputs
		listening to clarinet input via pitch-to-MIDI conversion
		listening to self-output (esp. useful during "solo" performance)
	input analysis
		pitch, duration, amplitude, density
		short- and long-term averaging
			looking for median values and ranges
	three output modes
		rhythmic unison with clarinet input
		reshuffle events from input buffer
		"bag of tricks": variety of preferred techniques for generating materials
			similar / contrasting materials across each dimension
			simple transformations (transposition, scaling)
			favorite licks / textures: "fast & low"
			...usable when there is no input

Matt's comments
	"a lot of the work was in weighting the probabilities correctly"
	"important to realize that it's a piece rather than a process"
	Chris Brown's suggestion: "...stop working on it and start playing with it..."

generating this type of analysis using fiddle~
	suppressing microvariation
	capturing timing
	recording parameters
	moving averages