nettmus » start page » 2018-04-24_npapws_2018

NPAPWS 2018

The following sections are based on Otto J Wittner's notes from the workshop.

Panel discussion on itc's impact on music eduation ++

  • Many opportunities… (bla bla)
  • Network performaings arts at the stage now as motion pictures were in the beginning
    • I.e. currently mostly recreating live conserts/performances like cinema just filmed theater performances
    • New unique productions will probably emerge over time
  • Should we and can we compete with the real thing, i.e. live performances ?
    • No, but online / virtual version should inspire the audience to visit live venues
  • (Panel focus in general towards classical music.)
    • (They seem to forget/ignore all other genre of music…)
    • Question from audience raised this issue. Plan member admit all music should be listened to

Panel on international collaborations

  • ( EaPConnect summary )
  • Music collaboration tools rigged in “public” space at Tempere univ. linked to UK
    • Applied Nimbra hw boxes (120 KNOK for a pair !)
    • A lot of activities emerged over the link
    • Ref 196? experiment named “whole in space” (online link across US)
    • Students are uncomfortable the first two-three sessions, but then start chatting over the link
  • ( Claudio reports how music collab. tech. seem to disappear when it works properly )
    • Misc success stories where scepticle musicians (incl. professional conductor) are convinced when after trying music coll. tech.

Recording Audio Across distance

  • Slide (ref picture taken on phone) showing latencies across orchestra and across US Internet topology
  • Live clapping experiment showing have musicians deaccelerate when delaly is introduced and no visual reference is available.
  • Popular music
    • Microtiming is important, groove, fast percussion
    • In studio: Click tracks, visual cues (no conductor)
    • Latency issue are very different from classical (orchestra) music
  • Collaboration between Berkely (and all its international campuses) and Napier in Edinburgh
  • Example with el-guitar teaching session with 810ms rt delay
  • Example of work composed assuming 3sec latency
  • Example showing successful cross atlantic studio session with ~90ms return delay
  • Delay test performed with studio musicians
    • Ref Chris Chafe's clapping experiments from 2004'ish
    • Three musicians were given gradually increasing delay toward the other two musicians
    • Deaccelleration begins at 35ms. A disaster av 60ms.
    • Fast paced melody, some acceleration when delay is ̃~0ms, deacceleration starts around 35ms
    • Drummer admit to “give up and just go with it” at 35ms
  • Lola-cue-track and recordings at each end
    • MUST run ProTools (or just the same DAW?) on both ends to enable “reproduction” off-line later

LOLA, Ultragrid and MVTP updates

  • LOLA
    • Utilizes multiple cores in the hw
    • Possible to downscale sessions to 20Mbps
    • Attention needed to not configure sessions to require more resources than hw and network can provide
    • Long list of requested features
    • Analogue SD cameras will not be supported in coming versions
    • Multiple camera support coming (in version 2.0 ?)
    • Ambisonic experiments ongoing
    • Replay on-the-fly in 2.0
    • Smaller units
      • Startech USB3 eth dongle
      • External USB audio interface (e.g. fireface) with 64 sample option
      • Gaming laptop, e.g. Dell, with Nvidia graphics card (with cuda support)
    • Launch event in september 2018, hence ready during summer
  • Ultragrid
    • Now up to 8k video
    • Frame based video capture. Support for misc capture cards.
    • Next release
      • 120 fps support. Bitflow capture card support
      • Intel GPU video acceleration support
      • Full Spout support
      • New GUI (at last.)
    • End-to-end minimum delay ~30ms
      • 120 fps uncompressed, bitflow capture card, JAI Spark camera, 120hz display
      • Difficult with respect to light conditions
    • Normal conditions give end-to-end ~40ms
      • uncompressed 60hz 4k video
    • All-equipment-in-one-box option developed, base don laptop and external capture cards
    • GUI
      • Minimum setup: Camera selection, display selection (and/or preview), Video and audio compression, destination
    • Community update
      • UG applied for voice master classes
      • UG and LOLA has been applied together in event (Near in the distance 3)
      • UG applied for live concert distribution i US from theater to schools and libraries
        • Limited link capacity
        • Old hw
  • MVTP video transmission units
    • Smaller unit: 2x full HD (1080p60), Larger supportes 4xHD
    • 2 ch audio per video stream, 24 bit 48khz (?)
    • Add < 1ms latency due to compression and transmission
      • Compression ratio 5:1 or 10:1 with film industry quality
    • Dream Chip Technology cameras: HD and 4k 6hz versions
      • Only 0.1ms delay from sensor to sdi output !
      • … not including shutter time, i.e. 1/fps
    • SDI cameras are superior to USB cameras w.r.t. image quality
      • Low delay SDI cameras exist !!

On the Fringe

  • Common difficulties for “normal” internet users: Capacity limitation, NAT/firewalls, …
  • Tools that work
    • JamKazam
      • From 2014, standard audio intercase
      • Without latency (?), no feedback issues (?)
      • Sw with network monitoring, audio monitoring, ++
      • Multi web cam support
      • Chat and backtalk channel
      • Fees for lessons and JamTracks, otherwise free to use
      • Demo: 130k incoming audio (!) A lot of packet-loss
      • Legal issues? On session initiation you choose which copyright license should apply
      • In general well developed piece of sw, especially to be freely downloadable
      • Codec ? Now codec, raw audio (Really? At 130kbps ?)
    • Artsmesh
      • Build on Jack API and ffmpeg
      • Need to be bought via the crypto currency Ethereum
      • $100 dollar for purchase

What about wireless?

  • 5G networks will make architecture merge with the Internet
    • Due to screen + camera technology and high bandwidth
    • … or via virtual reality head-sets
  • More sensors will be applied, e.g.
    • Sensor in bow for violins
    • Haptic gloves
    • 3D audio
  • “Connected cultures” project
    • Vision: Include artists from where they are ⇒ wireless technology essential
  • 5G are suppose to provide ultra-low latency… (probably only close to what wired nets provide)
    • Illustration showing 5G cell example with also indoor cells
    • Experiments with 4G shows 200ms end-to-end latency (Pipeline: web-cam … 4G… some display)
    • 4G is suppose to introduce around 40ms delay. 5G are to improve upon this.
  • 3D sound
    • Use surround speaker system rather than some headset
    • (A lot of details about 5 channel 3d audio experiments)
    • Capturing and representing audio reflections of higher degree is important
  • Q&A
    • How will 5G handle interference and other radio wave challenges? Similar to 4G, but also apply beam forming to focus radio coverage to smaller areas

Producing and staging network performances

  • Ian Biscoe, Renate Kreil, Maria Isabel Gandia
  • Project including Cuba and Havanna in a networked perfomance
    • Hardly no Internet networks available
    • A lot of enthusiasm required
    • Language challenges
    • Good partners / helpers important
      • E.g. an american with Cuban friends in the sw business
    • Local solutions: E.g. green screen based on curtains fixed with tape to wall
    • Elector acoustics based on vintage computer hw (e.g. commodore 64)
  • Project shown at NPAPWS 2017 in Copenhagen
  • Net arts coordination center - https://www.netart.cc
    • Recommend to set up a web site as the first step in a networked performance projects
      • For advertising first, and for documentation later
    • So far always aim for new challenges, e.g. new scales (no of sites / participants) og tool combinations
    • Time frame for larger project is around two years
    • Recording of show shown combining LOLA and Ultragrid
      • 3 remote participants (projected in background), dancer on stage
    • 20 technicians at one end of production (Wienna side)
    • 80 people in total all places together
  • Univ Catalonia
    • Check your Internet connection before planning performance
    • In person meetings are valuable
    • Interaction and cooperation with people from other cultures (with other languages) is necessary
      • Be open and patient
    • Funding: E.g. EaPConnect, city council
    • Artists: Students enjoy participating
    • Network “hacks” may be required
    • When applying green screens ALL colors need to be transmitted, i.e. both R, G and B connectors must be in place
  • Ian brings
    • either his own bus with all that he needs or…
    • A suitcase with converters and connectors as well as capture cards and graphics cards (?)
    • Borrow computers, projectors and camera
  • Ian integrates available systems by writing minor patches
  • What about reliability? Do you have backup plans?
    • Too expensive unfortunately
    • Tape down connectors
 
 
nettmus/2018-04-24_npapws_2018.txt · Last modified: 2018/04/30 11:34 by wittner@uninett.no

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