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I used Pedro's entire marimba improvisation as an input audio This piece is composed using small musical bots that listen stream into live signal processing software that I wrote using to the marimba recording and play along with it. They perform the SuperCollider 3 programming language. Without editing feature extraction and use incoming data, such as attack and its duration or stopping its flow, I recorded 6 passes through pitch, to derive their own voices. This computer music tech the processing, which included pitch-shifting, linear frequency nique has been called machine listening, but I decided to call shifting, gates, reverb, delays, distortion, and filtering. I them bots instead, since each of these programs are dedicated improvised changes to the processing parameters while to very small tasks and have their own individuality. No cut listening. The starting time of these recordings were displaced up was performed in the mixing, which was done simply by by up to a few seconds from each other, so the pitch and joining 3 of the bots performances and working on some time displacements produced a fugue-like character. Then track volumes. All the bot timbres are also extracted and I mixed freely between the different passes, reducing the processed from the original marimba recording. density to at most two or three passes at any one point in time. My editing decisions were completely intuitive, and I tried to preserve the temporal continuity of the source improv- 9 Stephan Mathieu Untitled marimba piece (Air above isation while exploding its content in pitch and timbre. mountains)
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