In 2012, I returned to IRCAM for a six-month Musical Research Residency with the MuTant team, to tackle the problem of predicting the precise point of convergence between a recorded sound and a live instrument using the\u00a0score follower Antescofo~.\u00a0<\/span><\/p>\n My primary goal was\u00a0to create converging tempo canons in real time, where a live voice and playback must coincide on a given attack. The idea was to create a more flexible system using a score-follower to track tempo shifts and to constantly recalculate playback speed, gauging the distance towards a given arrival point. Until now most music that deals with convergence has traditionally been highly metrical and rhythmically rigid \u2014\u00a0Nancarrow-style layers of multiple speeds that arrive together at a designated downbeat \u2014 but with Antescofo~ recording the real-time data of a passage’s execution and measuring it against an idealized version of the score, a new degree of rhythmic flexibility and vitality could be introduced.\u00a0Creating a tempo canon where a single line played by an instrument “catches up” with a faster version of itself requires some information about where the line is heading, and thus seemed feasible,\u00a0perhaps even for the first time.<\/span><\/p>\n