︎MORE ABOUT NULL VECTOR

︎ Live Event: “NULL VECTOR”

After three months of preparation, planning and discussion, the "NULL VECTOR" event officially started. In the test and rehearsal a few days ago, there were still some problems, and I really broke a cold sweat. Fortunately, the day of the event went very smoothly. Thanks to the performers for their cooperation and support, to all the participating audiences, to Chiyou and Lee Hua of the Taiwan Sound Lab for their great assistance along the way, and to the director Yu-Zhi and consultant Jia-Hui for their guidance.

Received a lot of feedback, about technology, about process, about sound, and about space, all of which have been received and kept in mind. It is a pity that the content of the performance has been temporarily changed, and the number of people is slightly larger, which cannot make the audience feel comfortable. Move through space and explore sounds.

In the event, I played the role of sound field and sound source control. The first group of performers used vocals and violins respectively. After many times of communication and rehearsal, with appropriate atmosphere and effects, each main sound source was used, and the Each is complemented by an additional, fine-tuned sound source for instant control of position and effects on-site. Since the second performer is also in touch with multi-channel sound processing, he reached a consensus after discussion. The performer is the main starting point to think about how to respond to the state of the space. I will not make additional arrangements in the performance. The third performer uses a set of two-channel systems and two sets of mono output. According to the paragraph and sound content, I will do real-time control of two sets of mono channels on site, and the two-channel part will be determined after discussion. The angle and phase dynamics are adjusted in small amounts on the spot, and the main control focuses on the sound texture and positional relationship between the two monophonic channels. The last performer used four sets of mono outputs. During the test, he had a preliminary idea of their positional relationship and dynamics. After discussion and gradual correction, he decided to rotate and move horizontally in space in an isometric and constant velocity manner. This dynamic is used to design and phase the sound content.

In terms of the performance sequence, the presentation methods, configuration and atmosphere of each group of performers are adjusted. Due to temporary performance changes, I will start with my personal experiment, and I also want to use this to briefly explain and indicate the characteristics and effects that this space can bring out. Continued with the first group and the only non-electronic performers: Tzi Ning and Huang Ching, who voiced their vocals and violin respectively. In the initial planning of the event, it was originally intended to be divided into three sessions according to sound texture, texture and sound production method, in an attempt to more precisely explore the relationship between sound and space, although it was later revised to the final form due to various considerations, the direction of the discussion was not the same. unchanged. After the sound of the piano and the human voice are intertwined into a strange and magnificent scene of the fallen world, the second performer Tzi Ni recreates the time and space again with scattered and meticulous point-like reconstructions. In the middle section, more electronic elements and tortuous human voices emerge, oscillating. The playback, precisely as reality and fantasy, is also the glass tether between the first and third sets of performances. As the third performer, Sheng not only has a rich selection of timbres and dynamics, but also adopts different sound source processing methods, mixing binaural and monophonic, and assigns textures, paragraphs and dynamics accordingly. The first section undertakes the sampling and modulation of the natural soundscape, and divides the space into two areas according to the position of the sound source, adding more rhythm beats and timbre transitions, ending, turning into the sound of the earth, and turning it into the sound of the sky. The ring stayed until the last performer, Chia-Chun. This show is the most complex configuration he has ever performed. Using his most representative no-input method, he assigns sounds of different textures to four channels. In the early stage of the test, there is a way to play and move the phase between channels. and rate ideas, and leave it to me to execute in this part. Under the steady and regular movement, the contraction and relaxation can better focus on the different aspects drawn by the sound itself, sometimes it may be an arc, sometimes it may have an acute angle, sometimes it seems that the outline somewhere is erased, sometimes It seems to have stopped. At the end of the event, returning to the most simple state does not require too much, nor does it need to be fast. Change can be an illusion created in the relationship with the other, and it is not very suitable to describe it with an illusion, because it is indeed established.

The response of different performers to space and sound has allowed me to gain new experiences and ways of thinking from different perspectives. I would like to thank the performers again for such a beautiful and unique presentation. The most interesting thing is to discuss and test with everyone during the process, and throw out different test paths together. Sometimes it seems to be a long way, but on that road, you can see the sound, scenery and space that you have never imagined, a precious experience.

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