Solo at Dokkhuset March 2021

Hadronic Compositions

BRAK RUG

Compositions and solo work

Kyle Motl and I met at UCSD today to play, and this is what we made

Gringo and the desert - with Kyle Motl

Work in progress for a sound art installation for the Norwegian Mapping Authority,
based on mapping of Quasar observations and correlation techniques used by the mapping authority to provide stable reference points for other measurements.

Eop 1 vocal opera

Brandtsegg Solo 2021 03 20 Part3

Brandtsegg Solo 2021 03 20 Part2

Brandtsegg Solo 2021 03 20 Part1

Conlon Nancarrow Study 12 CD

BRAK RUG Dokk April 2014 Mix1a Part2

BRAK RUG Dokk April 2014 Mix1a Part3

BRAK RUG Dokk April 2014 Mix1a Part1

Live set at Spriten Kunsthall in Skien December 2014

BRAK RUG at Spriten Skien 2014

BRAK RUG Notam2014 Mix2

Tone Åse singing, processed by Hadron. Using the Time Dilation Effects pack.

Hadron Vocals Processing 1 Step Freeze Verb

Ylva Øyen Brandtsegg - Drums
Øyvind Brandtsegg - Live processing and Marimba Lumina
Improvised session done at Westerdals in Oslo, April 2016. Engineered by Marita Kristensen

First Reflection

Unstable Reflectons

Walking In The Dark

Kyle Motl and me met at UCSD today to play, and this is what we did

3 Triton Chains - with Kyle Motl

2 Wildlife Of Balboa Park - with Kyle Motl

1 The Gringo And The Desert King - with Kyle Motl

Live processing track from the concert lecture at the experimental theatre at UCSD November 17 2016. Recorded by Kevin Dibella and James Forest Reid

Kyle Motl and Oeyvind Brandtsegg

Concert at Rockheim in Trondheim, October 2016.
Originally booked for BRAK/RUG (Brandtsegg(Rakje/Kjenstad), but our drummer Siv unfortunately became ill and could not play that day. Ola Djupvik saved the day by rising to the challenge (2 hours before concert start). Thanks to Tor Breivik for front of house sound, and for recording.

Concert BRKRG (Brandtsegg/Ratkje/Djupvik)Rockheim Oct 2016

Composition on source recordings from Skarnsundet bridge. The beautiful architecture of the stayed cable bridge informs formal aspects of the composition, and the dispersive quality of the cables is a main timbral theme.  Special microphones based on accelerometers were used to capture the ultra-low frequencies of the cables. The composition is part of a pilot project for a larger permanent sound and light installation that I'm working on in collaboration with visual artist Viel Bjerkeset Andersen. This will hopefully be ready autumn 2013. The art project on the bridge was initiated by the municipalities of Inderøy and Mosvik, merging into one municipality on January 1st 2012.

Skarnsundet Bru 2011

A 3-voice textural composition made with the Hadron Particle Synthesizer (Csound/MaxForLive). I've attempted to do some gestural counterpoint between the three different voices. The basic material was improvised live using a midi controller to play the Hadron, three such improvised takes were made. This basic material was then juxtaposed and edited. This was done in an iterative work process, where I would listen to the whole piece and take notes, then do editing, then listen to the whole piece again.
I plan to do a final mix in PT, also trying out some other reverbs.

MagneticForest (in progress)

Experiments in rhythmic particle patterns. Work on the piece started with a source sample of guitar from my friend Trond Engum. The modality of the sample combined with the 8ths rhythmic pattern led me to associate the sound of it to a sort of slow Bach invention. The title refers to the intrinsic angular momentum (spin) of elementary particles, in the context of this piece envisioned as a "rhythmic phasing into sync" of several groups of particles.

SpinSync(in progress)

Live recorded improvisation of feedback (microphone input) to the Hadron Particle Synthesizer. No other source sound was used. As the particle synthesizer uses pitch tracking data to control certain parameters in this state, the feedback loop creates a chaotic oscillator.
The recording is heavily saturated, as this seemed necessary to get the feedback loop going. I will investigave cleaner modes of feedback with the particle synth, but as for now, the hard clipping might be said to "fit the mood quite nicely" ...

FeedingTheCharmQuark1

FeedingTheCharmQuark2

Live performance with the feedback instrument, at Dokkhuset/Trondheim  in March 2012.  The feedback instrument is a slow feedbackreducer implemented in Csound, with some added colour added by processing the feedback stream in Hadron (also Csound). The input is just the sound in the room and from the PA picked up with shotgun microphones, no other sound sources are used.

Feed Dokkhuset 2012 03

Little Soldier Joe walks home with the sugar

Performance, composition, sound installations, and programming. I work as a professor of music technology at NTNU.
I am particularly interested in the interaction of composition and improvisation, and I use various custom software solutions for improvisatory interplay between me and the computer.
Another area of special focus for me is granular synthesis (what I'd like to term "particle synthesis" when merging all known forms of the granular technique). I use Csound and Python as my main tools, and I've designed some opcodes for the Csound language.
In the past I have worked with the groups Krøyt and Motorpsycho.

Brandtsegg

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