• 3D EDM (Electronic Dance Music)

      Vandemast-Bell, Paul; University of Derby (2016)
      This presentation discusses my work with Sonic Emotion’s Wave Field Synthesis system - Wave 1. I have spacialized a pre-recorded EDM performance (consisting of 4 stereo tracks) to investigate how my stereo work translates to 3D and the potential uses of 3D sound within a club environment.
    • Deformed Electronic Dance Music

      Vandemast-Bell, Paul; University of Derby (2016)
      This performance investigates the ways in which improvisation and digital repetition can be brought together to produce what I have termed ‘Deformed EDM (Electronic Dance Music)’. Digital repetition is generally employed in EDM performance to create fluid transitions between predetermined loops synchronised to a global tempo. I am interested in what lies beyond the boundaries of conventional 4/4, loop-based EDM performance and new modes of live interaction beyond the norm. In the performance I explore the tension between musician/machine and control/unpredictability. The performance is made possible by nativeKONTROL’s Clyphx MIDI Remote Scripts for Ableton Live and a custom Ableton Push Controller mapping, which allows the user to extend and rework the relationship between musician and machine. In extending the creative possibilities of commercial devices beyond what they offer 'out of the box', novel forms of interaction can be uncovered and new musical terrain observed. Original electronic source material is reimagined through real-time loop manipulation to create synchronous/asynchronous rhythms and textures, evolved with effects and dynamic processors.
    • Dynamic loops and processing

      Vandemast-Bell, Paul; Brown, Michael; University of Derby (30/11/2016)
      This performance, a collaboration between musician Paul Vandemast-Bell and visual artist Michael Brown, investigates a dialogue between real-time rhythmic, audio-visual elements. It builds on audio research presented by Paul Vandemast-Bell at NIME16 in Brisbane, Australia: http://hdl.handle.net/10545/620094
    • Immersive deconstruction: An exploration of dynamic loop-based performance diffused in a multi-channel environment.

      Vandemast-Bell, Paul; Brown, Michael; University of Derby (Kling Gut Symposium, 10/06/2017)
      This performance at klingt gut! 3rd International Symposium on Sound by the audio-visual duo, Time.lus, explores (through live interaction) the dynamic dialogue between rhythmic, audio-visual materials in space. Original source material is presented then deconstructed and improvisationally reimagined in real-time, to create synchronous / asynchronous rhythms and textures. The work is evolved through the use of audio-visual effects and dynamic processors.
    • Perspectives on musical time and human/machine agency in the development of performance systems for live electronic music.

      Vandemast-Bell, Paul; Ferguson, John; University of Derby; Griffith University (08/09/2017)
      This paper investigates the exploration of musical time in Live Electronic Music and discusses the authors’ novel, technological systems that embrace experimental processes and discovery. Prevalent theories of creativity are investigated, as well as tools and techniques that can be utilised to provoke unanticipated, but satisfying outcomes. The exploratory use of digital tools and chance operations is considered alongside more determinate predictable processes. While musical metre in commercial music production often revolves around metronomic timing, and the industry-standard quantization grid can often steer producers towards chronometric precision, this is at odds with expressive human timing. By standardizing the way in which we perceive musical time, much commercial software fails to recognise the full worth of musical metre and misses opportunities to explore alternative modes of rhythm and groove. However, some software does include a capacity to move beyond quantization grid restrictions and delve into an exciting world of complex timing, and graphical programing/generative music can also offer exciting possibilities. This paper reflects on a number of practical experiments and new works that foreground rhythmical complexity. Some familiar historical examples are also contextualised alongside relevant contemporary artists. The authors foreground their own practices; Ferguson draws from recent work including ‘Drum Thing’, which celebrates the automation of percussion objects using computer-controlled solenoids, with software written in Pure data this project explores various approaches to randomisation with an Euclidean rhythm generator, where the greatest common divisor of two numbers is used rhythmically to drive beats and silences. Ferguson also discusses his work with ‘Circles’, where semi-random/quasi-intelligent sequencing and the creative negotiation of imagined agency is the main agenda. Vandemast-Bell’s work draws on contemporary Techno music in which he explores techniques not unlike those pioneered by Steve Reich and later developed by Brian Eno in their experiments with phase. He uses original electronic source material that is presented then deconstructed and improvisationally reimagined in real-time, to create synchronous / asynchronous rhythms and textures. Dynamic audio looping plays a central role in his performances and is invoked through Native Kontrol’s MIDI Remote Scripts for Ableton Live that extends Live’s looping potential. He uses a custom Ableton Push controller mapping to interact with the electronic material, which is evolved through the use of audio effects and dynamic processors. The overall agenda is to elucidate the role of human/technological agency. The authors reflect upon and compare/contrast their individual practices, from initial concept through creative process to final realization. Further to these individual perspectives, they collaboratively develop and discuss new musical materials and algorithmic processes using Pure data, these patches will be published with the paper, the overall goal being to encapsulate their collaborative perspective on the generation of complex rhythmical material in Live Electronic Music.
    • Perspectives on musical time in the development of performance systems for live electronic music.

      Vandemast-Bell, Paul; Ferguson, John; University of Derby; Griffith University (Routledge, 12/07/2019)
    • Rethinking live electronic music: a DJ perspective

      Vandemast-Bell, Paul; University of Derby (Routledge, 2013-06)
      The author critiques the conventional understanding of live electronic music through empirical research on his own DJ practice and investigates others working in the field. In reviewing the opinions of theorists and practitioners in both the live electronic music genre and DJ-ing he argues against the body/machine dialectic that has determined much of the thinking in the former. The author forms a notion of the DJ as a real-time composer working beyond traditional binary distinctions who brings the human body and machine into a mutual relationship. Through practice-led research he charts an investigation beginning in physical human gesture and culminating in digital machine repetition. He concludes that mechanical and digital repetition do not obscure human agency in the production of live works and that this concern is imaginary.
    • Seeking best practice for education and training in the recording studio

      Vandemast-Bell, Paul; Werner, Duncan; Crossley, John; University of Derby (Audio Engineering Society, 20/08/2015)
      This paper reflects on the delivery of a module in recording studio practice. The module is intended to equip level 5 students with the necessary skills to undertake final year project work whilst introducing aspiring recording artists and music producers to a career in industry. These goals are compounded by the expectations of accreditation bodies that work in partnership with academic institutions to raise the standard of graduates entering into the business of music recording and production. Drawing on the authors’ educative experiences and observations the paper highlights the challenges posed by the tension between training and education, and investigates the potential for novel approaches to curriculum design.
    • Time tides: An exploration of dynamic loop-based performance diffused in a multi-channel environment.

      Vandemast-Bell, Paul; Brown, Michael; University of Derby (Sounds in Space Symposium, 27/06/2017)
      This performance at Sounds in Space Symposium (University of Derby) by the audio-visual duo, Time.lus, explores (through live interaction) the dynamic dialogue between rhythmic, audio-visual materials in space. Original source material is presented then deconstructed and improvisationally reimagined in real-time, to create synchronous / asynchronous rhythms and textures. The work is evolved through the use of audio-visual effects and dynamic processors.