1 00:00:57,060 --> 00:01:02,860 A little pause... 2 00:01:02,860 --> 00:01:02,960 and we are back. 3 00:01:31,810 --> 00:01:35,190 A little pause... 4 00:01:35,190 --> 00:01:35,230 A little pause... 5 00:01:35,230 --> 00:01:35,250 A little pause... 6 00:02:30,410 --> 00:02:33,270 A little pause... and we are back. 7 00:02:33,270 --> 00:02:33,730 A little pause... and we are back. 8 00:02:41,450 --> 00:03:04,830 A little pause... and we are back. 9 00:03:24,750 --> 00:03:25,790 A little pause... 10 00:03:25,790 --> 00:03:25,790 and we are back. 11 00:03:25,790 --> 00:03:28,510 A little pause... and we are back. 12 00:03:54,390 --> 00:04:00,250 That was my quantum improvisation system called Lengage. 13 00:04:01,470 --> 00:04:08,630 And technically it is listening to me in real time and I am able to play with it and musically communicate with it. 14 00:04:08,670 --> 00:04:13,570 And it will respond to me sometimes and sometimes it will do its own thing. 15 00:04:15,910 --> 00:04:25,550 So usually when we do NPHD performances, I am usually playing with my colleague Dr. 16 00:04:25,550 --> 00:04:27,850 Omar Tosa-Hamido. 17 00:04:28,370 --> 00:04:30,990 So it is usually he is playing saxophone and I am playing flute. 18 00:04:30,990 --> 00:04:34,670 And in our recent album we are usually playing those songs from there. 19 00:04:34,670 --> 00:04:40,190 It starts out with us playing acoustically and then that was pretty much the second song in the track. 20 00:04:40,810 --> 00:04:47,350 But I won't be playing the third song in the track because usually Vineyard plays with his quantum synthesizer. 21 00:04:47,450 --> 00:04:50,550 But he is not here today and I don't have his quantum synthesizer. 22 00:04:51,410 --> 00:04:53,530 But I will take a little break. 23 00:04:53,530 --> 00:04:58,490 If anybody has any questions, I am available to answer them. 24 00:04:58,610 --> 00:05:00,290 How long have you been playing? 25 00:05:01,670 --> 00:05:06,210 Probably about 13-14 years I think. 26 00:05:06,210 --> 00:05:07,190 You are doing great. 27 00:05:07,190 --> 00:05:09,470 Oh, thank you. 28 00:05:11,130 --> 00:05:13,930 So you say it is listening to you. 29 00:05:13,930 --> 00:05:20,250 Is it translating it to MIDI and then doing a MIDI or is it pitch shifting? 30 00:05:21,190 --> 00:05:28,650 So it is actually doing some music information retrieval functions on it. 31 00:05:28,650 --> 00:05:31,570 So it is taking different musical features out of itself. 32 00:05:31,870 --> 00:05:46,390 It might take the signal energy from my playing or it might take pitch estimation and use that as a reference for how far it should go away and how far it should stay within the realm of what I am doing. 33 00:05:47,090 --> 00:05:53,390 And then I have I guess a couple other musical features for like brightness of the tone I am playing and things like that. 34 00:05:53,390 --> 00:05:58,950 And I am kind of looking into different ways of sending different information. 35 00:05:59,590 --> 00:06:04,530 Are you pre-setting pitch parameters, key parameters at all or do you just keep it completely open? 36 00:06:04,530 --> 00:06:07,050 It is completely open at the moment. 37 00:06:07,490 --> 00:06:12,550 Especially in jazz improvisation, it is kind of hard to keep it open. 38 00:06:16,470 --> 00:06:18,310 Two questions, but they are related. 39 00:06:18,310 --> 00:06:21,750 Is it trying to track your tempo at all? 40 00:06:21,750 --> 00:06:23,430 And the other question is what is the lifetime? 41 00:06:23,610 --> 00:06:29,930 It is tracking my tempo every so often, but that is not part of the quantum algorithm. 42 00:06:29,930 --> 00:06:32,690 That is more of a classical kind of algorithm. 43 00:06:32,690 --> 00:06:41,150 I do want to try to incorporate that into the circuit, but the circuit is actually kind of big enough as it is and I don't think I can fit it in at the moment. 44 00:06:41,150 --> 00:06:47,550 But yeah, the current state of quantum computers, I kind of hit the max that they will allow for the general public to know. 45 00:06:47,550 --> 00:06:49,230 But yeah. 46 00:06:50,690 --> 00:06:52,650 Is it a max for live? 47 00:06:53,410 --> 00:07:03,850 So, I didn't pay for max for live, but I am using just the full max software and then I am feeding it into Ableton kind of manually. 48 00:07:03,850 --> 00:07:04,270 Yeah. 49 00:07:12,150 --> 00:07:13,930 I think I will continue. 50 00:07:15,490 --> 00:07:18,770 I guess since this is jazz, I will kind of figure out from here. 51 00:07:18,770 --> 00:07:29,890 There is some stuff at the end that I do want to get into more of the system, but I will kind of go back to work and play along with some of the effects and some of the other stuff. 52 00:08:33,220 --> 00:08:37,760 So, here we go. 53 00:08:53,170 --> 00:09:17,990 So, here we go. 54 00:09:51,610 --> 00:09:55,190 So, here we go. 55 00:10:01,170 --> 00:10:10,410 So, here we go. 56 00:10:19,710 --> 00:10:24,930 So, here we go. 57 00:10:49,060 --> 00:10:51,860 So, 58 00:11:01,890 --> 00:11:12,810 here we go. 59 00:11:47,190 --> 00:11:48,710 So, here we go. 60 00:12:17,920 --> 00:12:22,500 So, here we go. 61 00:12:49,420 --> 00:12:52,220 So, 62 00:13:07,040 --> 00:13:11,260 here we go. 63 00:13:53,440 --> 00:13:56,240 So, 64 00:14:42,800 --> 00:14:44,220 So , 65 00:16:20,840 --> 00:16:23,420 Here we go. 66 00:17:03,900 --> 00:17:06,880 Here we go. 67 00:17:29,980 --> 00:17:34,540 Here we go. 68 00:17:53,100 --> 00:17:57,700 Here we go. 69 00:18:48,660 --> 00:18:51,480 Here we go. 70 00:19:24,370 --> 00:19:28,070 Here we go. 71 00:20:08,210 --> 00:20:08,750 Here we go. 72 00:20:20,290 --> 00:20:26,350 Here we go. 73 00:21:07,410 --> 00:21:11,630 Here we go. 74 00:22:49,490 --> 00:22:52,430 Here we go. 75 00:24:04,340 --> 00:24:07,640 Here we go. 76 00:24:19,500 --> 00:24:29,520 Here we go 77 00:24:35,210 --> 00:24:35,350 . 78 00:24:57,140 --> 00:24:59,460 That's pretty much what I have here, guys. 79 00:24:59,460 --> 00:25:02,240 Unless you guys want to hear anything specific. 80 00:25:03,040 --> 00:25:12,060 I was working on another application today as I was waiting for this performance, but it's still not quite working yet. 81 00:25:14,020 --> 00:25:16,840 Does anybody have any more questions? 82 00:25:17,620 --> 00:25:25,240 During the transition of that last song, there was a decay of four different layers. 83 00:25:25,240 --> 00:25:30,740 Does that represent the deep wave, or is it just my imagination for the energy compression? 84 00:25:31,260 --> 00:25:36,180 So, half of this performance is just straight electronics. 85 00:25:36,180 --> 00:25:40,320 And then the other half is being controlled by the actual system. 86 00:25:41,280 --> 00:25:50,360 But, this is actually using a simulator, so it's not using a specific computer at the moment, because getting there and back is... yeah. 87 00:25:50,360 --> 00:26:02,480 But, the system, the parameters of that system was built on some example data to the system, using some of IBM's own computers. 88 00:26:02,600 --> 00:26:04,140 So , yeah. 89 00:26:04,640 --> 00:26:11,100 So, ideally, it could just be a plug and chug, if they, you know, have the capability of this, then use it. 90 00:26:11,100 --> 00:26:12,060 But, no. 91 00:26:13,420 --> 00:26:14,260 Yeah. 92 00:26:16,580 --> 00:26:24,540 Any of the sounds generated, were they pitch tracked to what you were playing? 93 00:26:24,640 --> 00:26:27,480 Or was it just emulating what you were playing? 94 00:26:27,480 --> 00:26:32,840 Or was it quantized after the fact to some scale, whatever you were playing in? 95 00:26:32,880 --> 00:26:40,240 So, it's using... this is actually my dissertation research, but it has a lot of different components in it. 96 00:26:40,240 --> 00:26:46,180 But, in terms of pitch, let's say I have... so, the system will do an estimation, right? 97 00:26:47,040 --> 00:26:55,700 It hears 50% chances of B, 50% chances of A, or maybe another note in there with another percent chance, whatever. 98 00:26:55,700 --> 00:26:57,960 So, you're sort of using Markov chains or something like that? 99 00:26:57,980 --> 00:27:03,620 No, not Markov chains, but I'm using... it takes it in and gives it a wave function. 100 00:27:03,620 --> 00:27:04,220 Okay. 101 00:27:04,220 --> 00:27:08,860 Yeah, and it says, okay, it's in all these notes I'm perceiving at the same time. 102 00:27:08,860 --> 00:27:14,040 But the second that it measures it to execute the actual note, it collapses to one of them. 103 00:27:14,040 --> 00:27:14,400 Okay . 104 00:27:14,480 --> 00:27:19,020 Yeah, and then it has some kind of way of saying, like, okay, this is the target pitch I'm going for. 105 00:27:19,220 --> 00:27:24,000 And then it kind of looks up the energy of the qubit and says, how far do I have to get there to get to the pitch? 106 00:27:24,000 --> 00:27:25,780 Or am I going in another direction? 107 00:27:32,410 --> 00:27:35,250 Does the last track have drums in it? 108 00:27:36,630 --> 00:27:39,790 Yeah, so the system is actually playing the drum set, so yeah. 109 00:27:39,890 --> 00:27:40,390 Nice. 110 00:27:40,390 --> 00:27:40,710 Wow. 111 00:27:40,710 --> 00:27:41,030 Yeah. 112 00:27:41,110 --> 00:27:46,530 And how does it go between generating just sound and generating a drum tempo? 113 00:27:46,530 --> 00:27:47,770 Is it intentional? 114 00:27:47,770 --> 00:27:50,530 So it's actually just playing software instruments. 115 00:27:50,530 --> 00:27:50,830 Okay. 116 00:27:50,830 --> 00:27:52,710 So it's like sending, yeah, so it's sending... 117 00:27:53,330 --> 00:27:54,010 Like a MIDI instrument. 118 00:27:54,010 --> 00:27:57,210 Yeah, it's sending MIDI information to the instruments, but yeah. 119 00:27:57,210 --> 00:28:04,210 So there's many layers of quantum and processing going in with it to bring out a really... because it was really multi-layered performance. 120 00:28:04,210 --> 00:28:05,150 Yeah, yeah. 121 00:28:05,150 --> 00:28:06,130 Yeah , brilliant. 122 00:28:06,590 --> 00:28:06,810 Yeah. 123 00:28:07,010 --> 00:28:08,130 Okay, go ahead. 124 00:28:08,130 --> 00:28:16,430 So I wanted to ask if eventually quantum should be able to play music that regular computers can't. 125 00:28:16,430 --> 00:28:18,030 Is there anything about that? 126 00:28:18,050 --> 00:28:22,490 My philosophy on that is, well, there is a subfield right now. 127 00:28:22,490 --> 00:28:24,650 I don't know how much you guys know of this. 128 00:28:24,650 --> 00:28:33,850 So there is a group of researchers, not a large set of them, but they are looking into building quantum computer music applications. 129 00:28:33,850 --> 00:28:39,890 But right now they are kind of focusing on what capabilities we have currently that are transferable to quantum computers. 130 00:28:39,890 --> 00:28:46,710 So we don't know if it will give us an advantage or not, or if it might be able to play music better than a classical computer. 131 00:28:46,950 --> 00:28:50,250 But my thought is, especially with jazz, it's just so many different elements. 132 00:28:50,250 --> 00:28:56,470 And I think there is more language in quantum computers than there are in classical, which I mean... 133 00:29:02,090 --> 00:29:07,530 Do you find when you are playing jazz with a quantum computer, there is a level of feedback? 134 00:29:07,810 --> 00:29:12,210 Because when you play jazz live, there is a feedback between you and the other musicians. 135 00:29:12,690 --> 00:29:18,550 Do you find that the quantum... and I can guess someone's personality through how they feedback to me. 136 00:29:18,550 --> 00:29:19,830 I get a feel for that. 137 00:29:20,130 --> 00:29:22,070 Does a quantum computer have a personality? 138 00:29:22,690 --> 00:29:23,930 A jazz personality? 139 00:29:23,930 --> 00:29:27,870 It has an image of my personality. 140 00:29:27,870 --> 00:29:28,590 An image of you. 141 00:29:29,690 --> 00:29:33,710 So I don't know if you guys have ever heard of George Lewis. 142 00:29:34,110 --> 00:29:37,290 George Lewis has a computer improvisation system. 143 00:29:37,290 --> 00:29:38,730 He has nothing to do with quantum. 144 00:29:38,850 --> 00:29:41,190 He made this back in the day. 145 00:29:41,190 --> 00:29:43,390 He was very groundbreaking at the time. 146 00:29:43,630 --> 00:29:48,490 But this system is actually inspired off of his system, which is called Voyager. 147 00:29:48,490 --> 00:29:54,970 And that's an actual real-time improvisation system that many jazz musicians have played with and have discussed about. 148 00:29:54,970 --> 00:29:56,310 Does it have a personality? 149 00:29:56,310 --> 00:29:59,430 Is it actually... what is actually going on here? 150 00:29:59,430 --> 00:30:02,930 And George Lewis has always said, it's a reflection of myself. 151 00:30:03,530 --> 00:30:10,190 I consider a composition as a reflection of myself, and it has my philosophies of improvisation within it. 152 00:30:11,170 --> 00:30:12,210 Fascinating. 153 00:30:13,710 --> 00:30:22,030 Could you just tell us some more general knowledge about how to go about using the quantum in instruments? 154 00:30:23,450 --> 00:30:29,130 So, I guess for me, it's a different approach than what most of the field is doing. 155 00:30:29,130 --> 00:30:35,490 So , a good example would be my other bandmate, Omar. 156 00:30:35,650 --> 00:30:40,770 Omar, he's actually in Portugal, so it was kind of difficult to get him down here this time when we performed in New York. 157 00:30:40,770 --> 00:30:51,270 But his quantum synthesizer is using different algorithms to generate for different parameters of the synthesizer, actually. 158 00:30:51,270 --> 00:30:56,970 And to actually use the superposition for different waveforms that the synthesizer can generate. 159 00:30:57,410 --> 00:31:02,830 There are other applications for pitch estimation, or melody generation, and things like that. 160 00:31:02,830 --> 00:31:10,790 But anything that you can do with classical computing, there is probably a way you can adapt it to quantum computing. 161 00:31:10,790 --> 00:31:17,770 So it's mostly like mapping your output from your quantum computer onto a classical machine, I would say. 162 00:31:17,990 --> 00:31:20,690 I don't know if that answers your question or not, I'm sorry. 163 00:31:23,810 --> 00:31:32,030 So the source of the randomness, you have the quantum computing, but it's being simulated, right? 164 00:31:32,030 --> 00:31:44,190 Is it possible, have you thought about using a true source of quantum randomness, like a Geiger counter or something like that? 165 00:31:45,930 --> 00:31:47,250 Not really. 166 00:31:47,270 --> 00:31:52,730 I kind of just was using, when the kids came out at the moment, I really wanted to just run on actual hardware. 167 00:31:52,730 --> 00:31:59,170 Because the simulator for me is not actually giving it the actual experience of using the actual quantum hardware. 168 00:31:59,170 --> 00:32:04,530 It's just a matter of logistics, I guess, on the company's side. 169 00:32:04,530 --> 00:32:09,590 But yeah, the simulator to me is not the most I take on. 170 00:32:09,590 --> 00:32:20,810 What kind of level of randomness is brought in versus the entropy of being able to move beyond what you're at? 171 00:32:20,810 --> 00:32:27,690 Because I saw within the performance I heard, as it was starting to run away with a lot of energy, you could slowly bring it back. 172 00:32:27,690 --> 00:32:31,930 Or as it was getting a little lower, you would slowly bring in more energy. 173 00:32:31,930 --> 00:32:37,370 So do you have parameters there, and can you widen those and make it more random? 174 00:32:37,370 --> 00:32:52,450 Yeah, so besides tempo, which is not quantum at all in this case, a lot of the parameters I'm using that are being extracted from here, I use those metrics on the quantum gates, on the actual quantum gates or the actual rotations. 175 00:32:52,610 --> 00:32:59,310 So it's actually taking into consideration inside the actual algorithm, the quantum algorithm, what I'm doing. 176 00:32:59,410 --> 00:33:04,350 So it's building a state of what it could possibly do based off what I'm doing. 177 00:33:07,430 --> 00:33:13,230 This is more like a philosophical slash artistic question. 178 00:33:13,310 --> 00:33:24,130 In the perspective of the science and engineering, do you find a superposition when you identify the artistic component with the engineering component? 179 00:33:26,170 --> 00:33:28,610 I'm sorry, can you do the last question? 180 00:33:28,610 --> 00:33:29,830 I don't know. 181 00:33:32,570 --> 00:33:34,130 I would say so. 182 00:33:34,130 --> 00:33:39,150 I've actually gotten a lot of feedback, especially when I came to the... 183 00:33:39,150 --> 00:33:44,170 when I was trying to finish my dissertation and things, I was having a lot of issues with it getting to sound. 184 00:33:44,170 --> 00:33:48,630 So the first iteration, this was not as flexible, I would say. 185 00:33:48,630 --> 00:33:50,110 It was very stagnant. 186 00:33:50,110 --> 00:33:51,670 It was kind of mostly based on pitch. 187 00:33:51,670 --> 00:33:56,110 It didn't really have any kind of change in tempo or change in energy or anything. 188 00:33:56,110 --> 00:33:59,930 But a lot of feedback I got from musicians that nothing, mostly about... 189 00:33:59,930 --> 00:34:05,370 They were tech savvy, but they didn't know what's happening underneath the hood of anything. 190 00:34:05,550 --> 00:34:09,470 They were kind of like, you also have to remember this is also an artistic project. 191 00:34:09,470 --> 00:34:12,050 You can get lost in the weeds of building the sound. 192 00:34:12,050 --> 00:34:20,810 So you can have all these fancy algorithms, which I was technically trying to do, but it ultimately meant nothing in the end. 193 00:34:20,810 --> 00:34:27,690 So it's kind of like a balance between what are the tools and algorithms I can use for a specific purpose. 194 00:34:27,910 --> 00:34:35,190 If it's not being used for a specific purpose, and it's just in there for more efficiency or something, then it kind of gets away from the artistic side. 195 00:34:39,050 --> 00:34:43,370 If there are no more questions, please do thank Scott. 196 00:34:43,370 --> 00:34:43,550 Thank you. 197 00:34:49,690 --> 00:34:51,690 Thank you very much everyone. 198 00:34:51,690 --> 00:34:54,690 We hope you've enjoyed the most cultured... 199 00:34:55,710 --> 00:34:57,250 I also have a... 200 00:34:58,810 --> 00:35:08,490 I do have a flyer, I wasn't able to print them out, but me and Omar are having a couple of listening parties next Saturday and the Saturday after that on Bandcamp. 201 00:35:08,490 --> 00:35:12,250 So you'll be able to hear the whole album and you can decide if you want to buy it. 202 00:35:12,250 --> 00:35:16,050 I do have a QR code for anybody who wants to check out the album. 203 00:35:16,070 --> 00:35:23,710 You can also just type in nphd.space and it'll take you guys to our rep website. 204 00:35:24,210 --> 00:35:33,190 But also, on September 2nd, we're having a telematic performance of the album as well, if you guys are interested in it. 205 00:35:33,190 --> 00:35:40,250 And you can find that information on our rep page, which is nphd.needspace. 206 00:35:43,010 --> 00:35:44,730 That in space? 207 00:35:44,730 --> 00:35:45,870 That space. 208 00:35:45,930 --> 00:35:47,010 Yeah, just space. 209 00:35:47,010 --> 00:35:47,910 We'll put it on the Twitter. 210 00:35:49,410 --> 00:35:51,590 Everyone, thank you very much. 211 00:35:51,590 --> 00:35:52,510 Thank you Scott.