4 ms·

jamtaba and ninjam are an open source solutions to this problem. They allow you to buffer everyone's playing, at a user specified interval, then replays the la

by aeonik 4y ago

jamtaba and ninjam are an open source solutions to this problem. They allow you to buffer everyone's playing, at a user specified interval, then replays the last measure of music to everyone. It's definitely not the same as live playing, but it's still pretty fun, and actually forces you to get creative on different ways. https://jamtaba-music-web-site.appspot.com/ https://jamtaba-music-web-site.appspot.com/

Aeolun 4y ago
How does that work for the one playing ahead of everyone else? He just doesn’t hear anything? Or he hears his own music from 1 second ago? Or worse, other people’s music from 1 second ago.
- rocqua 4y ago
  I think everyone hears everyone else playing x milliseconds ago? Where x is probably decided based on the beat. The weird side-effects are why I guess the parent said that "it's still pretty fun, and actually forces you to get creative on different ways."
- dizhn 4y ago
  You have to think in bars not seconds.I believe you hear your own playing in near real time and is overlayed on the bars coming from others. It works pretty well with well structured music like the blues. You probably couldn't play well if the piece was changing tempo or key all the time.
edbaskerville 4y ago
Interesting! Presumably last 12 measures if you're playing a 12-bar blues, etc. Big downside is you're stuck playing to a metronome, which would be enough for me to skip it, but it depends on the kind of music you're playing. I could imagine that if the music is rhythmically slow and vague and improvised, big latencies are OK, and actually might yield some pretty interesting creative results. Another model I've thought about is to structure players in a rooted DAG, and players can hear only people upstream of them. E.g., you could build an orchestra by having a conductor and section leaders in a room together (or at within very low latency of each other). Other players could hear the leaders and play along, and then an audience could hear everyone. You could also do something more complicated like build things out in linear or power-of-2 layers, where each layer can hear everything upstream of it, and therefore many players would get a partial sense of the orchestral effect. This could work nicely for improvised music, too, with causality preserved.

by aeonik 4y ago

Aeolun 4y ago

How does that work for the one playing ahead of everyone else? He just doesn’t hear anything? Or he hears his own music from 1 second ago? Or worse, other people’s music from 1 second ago.

rocqua 4y ago
I think everyone hears everyone else playing x milliseconds ago? Where x is probably decided based on the beat. The weird side-effects are why I guess the parent said that "it's still pretty fun, and actually forces you to get creative on different ways."
dizhn 4y ago
You have to think in bars not seconds.I believe you hear your own playing in near real time and is overlayed on the bars coming from others. It works pretty well with well structured music like the blues. You probably couldn't play well if the piece was changing tempo or key all the time.

edbaskerville 4y ago

Interesting! Presumably last 12 measures if you're playing a 12-bar blues, etc. Big downside is you're stuck playing to a metronome, which would be enough for me to skip it, but it depends on the kind of music you're playing. I could imagine that if the music is rhythmically slow and vague and improvised, big latencies are OK, and actually might yield some pretty interesting creative results. Another model I've thought about is to structure players in a rooted DAG, and players can hear only people upstream of them. E.g., you could build an orchestra by having a conductor and section leaders in a room together (or at within very low latency of each other). Other players could hear the leaders and play along, and then an audience could hear everyone. You could also do something more complicated like build things out in linear or power-of-2 layers, where each layer can hear everything upstream of it, and therefore many players would get a partial sense of the orchestral effect. This could work nicely for improvised music, too, with causality preserved.