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==Quality of Transmission== | ===Quality of Transmission=== | ||
The immediate impression of the quality of video and audio transmission was poor. The video never quite worked (stayed frozen through most of the session) and the audio cut in and out quite a bit, with significant bit-rate reduction effects. One feature that did work quite well was the screen-sharing capabilities, which allowed us to compare our methods for recording and testing the audio latency. | The immediate impression of the quality of video and audio transmission was poor. The video never quite worked (stayed frozen through most of the session) and the audio cut in and out quite a bit, with significant bit-rate reduction effects. One feature that did work quite well was the screen-sharing capabilities, which allowed us to compare our methods for recording and testing the audio latency. | ||
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As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience. | As stated above, the latency prevents this software from use in actual interactive situations, but allows for meaningful (if limited) control of transmitted feedback loops. These controls, along with the simple parameters of mic placement, type and volume and speaker placement, type and volume allowed for an interesting sound space. While decidedly bright and noisy, larger musical forms and aims could be followed with some experience. | ||
==Example== | ===Example=== | ||
Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego: | Here is an example of the sound quality during the feedback experiments, as directly recorded without any processing or filtering in San Diego: | ||
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[[File:exampleSD.mp3|thumb|Transmission recorded in San Diego.]] | [[File:exampleSD.mp3|thumb|Transmission recorded in San Diego.]] | ||
==Composed Piece== | ===Composed Piece=== | ||
The piece below contains two sections, using the recorded sounds that occurred over the course of the session. They have been stitched together. Each side of the transmission (here in San Diego and Weimar) recordings of the transmitted audio were rearranged and replaced into 45 second mono clips. These clips were sent off the to other locale, where it was heard and reacted to with other sounds from the session. Each locale is panned to one or the other side, resulting in a two part, binaural piece lasting 1'30". | The piece below contains two sections, using the recorded sounds that occurred over the course of the session. They have been stitched together. Each side of the transmission (here in San Diego and Weimar) recordings of the transmitted audio were rearranged and replaced into 45 second mono clips. These clips were sent off the to other locale, where it was heard and reacted to with other sounds from the session. Each locale is panned to one or the other side, resulting in a two part, binaural piece lasting 1'30". | ||
===Musical Conclusions=== | |||
While useless as a telematic performance tool, the software did yield very interesting results due to its lossy and inconsistent transmission. These could be learned and controlled with some experience and understanding of the software's functionality. After this investigation, there seems potential for some piece of loudspeaker music, especially concerned with the uses and themes provided by the topic of telematic performance and its inherent issues (which are highlighted by this software). |
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