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Dafna Naphtali's "bang" Max/MSP Patch

Here are 6 screen shots of a custom Max/MSP patch created by Dafna Naphtali for use in she said—she said, "Can you sing 'Sermonette' with me? by What is it like to be a Bat? This patch is called called "bang". Click on number or miniature to see the screen shot full-sized.

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Live processing of audio by Dafna Naphtali for she said—she said, "Can you sing 'Sermonette' with me? was written in Max/MSP by Opcode for control of an Eventide H3000 Effects processor.

With her custom software Naphtali controls all parameters of processing simultaneously, quickly shifting between the extreme ranges of these parameters (highest to lowest pitch shift, long to very short delay, i.e.) using a foot pedal or computer algorithm. She saves "preset" collections of parameters assignable to a MIDI pedal allowing her to sample and replay the audio in real-time as an unorthodox sampling instrument. She processes both her and Brazelton’s voices and controls parameters of the effects directly at the computer, or remotely with a foot pedal since her hands must remain free for playing guitar.

The processing is exemplified in Batch 1-2 (and in Batch 7), in her modification of the H3000 Swept Comb algorithm as she produces an enormous resonant reverb for the vocals that she tightly cuts off with the band as they start and stop, contrasting noise with resonant with total silence. In Batch 4 (and in Batch 8), using Long Digiplex algorithm, she sequenced a series of her "preset" parameter value collections to control delay time and Doppler effect. The result of processing the vocal "Ha!" is a rhythmically complex series of constantly changing noise loops that were scored and played in a hard driving unison with the drummer. Throughout the rest of the piece she continues to use this algorithm with other parameter sets to sample and repeat (and change delay of) various words phrases and vocalisms during the trance section.

Meanwhile, Dafna Naphtali had been developing the real-time application of the computer and in the mid-90s wrote a Masters thesis for New York University on the subject. Her focus was on the potential for stand-alone musical expression by a ambience-processing unit called the Eventide through complex micro-programming with MAX software. Naphtali continues her Eventide-MAX work with many musicians around New York City including the pianist Kathleen Supové and her husband, endangered-guitarist Hans Tammen, as well as with her own improv ensemble CoLLiSioN.

© 1997, 2001, 2003 Dafna Naphtali.