2023 Mid Semester Networked Music Performance in RITMO
This wiki page details our technical setup in the RITMO motion capture lab for our mid-semester telematic performance on Tuesday 7 March 2023 as part of MCT4025. For this performance we worked with local students from the Edvard Munch videregående skole's jazz ensemble. The concert was split between Salen at IMV and the FourMs motion capture lab at RITMO. We set up the equipment, completed a soundcheck, and measured network latency on Monday 6 March. We were able to leave our equipment set up in the RITMO lab overnight, resulting in minimal required setup on the day of the concert.
N.B. This page only covers the technical details of the RITMO performance location. For technical details on the setup in Salen, as well as video livestreaming details, please see their wiki page here.
The RITMO team consisted of the following:
- Alex Wastnidge - audio engineering
- Emin Memis - setup and livestreaming (split between Salen and RIMTO)
- Masoud Niknafs - setup and artist liaison
- Jack Hardwick - video and network
The ensemble was split between Salen and RITMO. Salen acted as the front-of-house location, while RITMO was the remote location. The following musicians were located at RITMO:
- 2 trumpets
- Electric guitar
- Bass guitar
For this performance we used the portable NMP kits which are designed to work over the LOLA network. You can find out more about the LOLA kits here.
| Instrument | Capture | Mixer Input | Output |
|---|---|---|---|
| Bass | DI | 1 | Group 1 |
| Guitar | Sennheiserr e609 | 2 | Group 2 |
| Trumpet 1 | Shure SM57 | 3 | Group 3 |
| Trumpet 2 | Shure SM57 | 4 | Group 4 |
The audio was sent to Salen using the two stereo group outputs from the Yamaha mixer. Bass and guitar were bussed to groups 1 & 2, while the two trumpet mics to groups 3 & 4. By hard panning each instrument we were able to send all four instruments as their own isolated mono channel. The group outputs were then connected to the first four inputs of the Behringer ADA8200 ADC. It should be noted that currently by default the Yamaha mixers are cabled so that the network send is taken from aux sends 3 & 4, meaning that an independent mix can be sent from the mixer.
Each musician was provided with headphones for monitoring both their own sound and that from the musicans in Salen. The headphones were plugged into the Mackie HM-800 headphone amplifier provided as part of the NMP kit. The monitor feed was taken from aux sends 1 & 2 as is the default setup in the kits. This was used in a stereo configuration, meaning only one monitor mix was available. This was chosen because of the amount of stereo information being received.
We used the included Ximea camera in the NMP kit and mounted it to a Manfrotto tripod which we aquired from the RITMO motion capture lab. The camera was placed in front of the musicians such that they were all in frame. We took time to ensure a suitable camera placement and stage design, as this camera feed was projected behind the Salen performers and therefore visible to the audience.
We connected two external displays to the PC in the NMP kit: the gaming monitor included in the kit, and a mounted Sony 4k TV from the RITMO lab. The gaming monitor was the primary display for the technicians and was used to monitor network performance during soundcheck and the concert. The TV was used a secondary display and was placed behind the Ximea camera and facing towards the performers. We placed both camera feeds (local and from Salen) on the TV, which allowed the performers to see both themselves and the Salen performers.
We connected the PC in the NMP kit to the LOLA network using the wall-mounted ethernet port located in the corner of the control room at the RITMO lab. There are 2 ethernet ports on the wall in this room - the one on the right is connected to the LOLA network.
We changed the IP address of the PC manually to that listed in the help .txt file on the computer, and ensured that the PC's firewall was turned off. With these steps completed, we were immediately able to connect to the team in Salen over the LOLA network.
The full list of required equipment was as follows:
| Equipment | Quantity | Included in NMP kit | Notes |
|---|---|---|---|
| NMP kit in flight case (PC, mixer, RME audio interface, Mackie headphone mixer) | 1 | Yes | |
| Ximea camera | 1 | Yes | |
| External gaming display | 1 | Yes | |
| Case of computer cables (ethernet, HDMI, kettle leads, camera cable, etc.) | 1 | Yes | |
| Case of audio cables (XLR, jack cables) | 1 | Yes | |
| Mounted Sony 4k TV | 1 | No | From RITMO |
| Shure SM57 dynamic microphone | 2 | No | From IMV |
| Sennheiser e609 condenser microphone | 1 | No | From IMV |
| Vox guitar amplifier | 1 | No | From IMV |
| DI box for bass guitar | 1 | No | From IMV |
| Microphone stand | 3 | No | From IMV |
| Headphones | 6 | No | 3 from IMV, 3 from RITMO |
| Manfrotto tripod (for Ximea camera) | 1 | No | From RITMO |
| Extension leads | 3 | Yes (1) | 2 extra from RITMO |
During our telematic concert, we designed a simple yet impactful stage setup using four purple LED lights placed vertically. As a team, we wanted to create a dynamic and engaging atmosphere for our audience despite the virtual setting. The placement of the lights created a nice visual effect that complemented the music and added an extra layer of depth to the performance. We worked together to ensure that the lights were properly positioned to enhance the overall experience for the audience in Salen.
- We were lucky to experience few technical issues during this concert. The team in Salen measured the round-trip latency (RTT) of the system on both Monday and Tuesday and recorded results of 15ms and 17ms respectively. This falls well below the required 25-30ms threshold for latency to have a noticable effect on performability.
- It took most of our 1-hour soundcheck to create a headphone mix that worked well for the performers. This required constant communication with the audio engineer in Salen, and therefore highlights the importance of clear and detailed communication between locations. As all 4 channels of audio that were were sending over the network were accounted by the musicians, we did not set up a microphone to use as a talkback system. However, this would have made communication between locations easier and therefore saved time during soundcheck and setup.