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PhD fellow Gui Schmidt C?mara recorded audio and motion from 60 professional drummers, bassist and el-guitarists and instructed them to lay back or push their playing. He found that the drummers mainly varied their onset timing to produce the different microrhythmic feels. In contrast, the bassists and el-guitarists systematically combined onset timing with brightness, duration, and other acoustic features. 

In addition to general tendencies regarding how musicians and producers shaped microrhythmic feels in different genres, we were also interested in the individual strategies that they employed. Postdoc George Sioros did a cluster analysis of the drummers' performances and visualized the different strategies as phylogenetic trees.

Postdoctoral fellow Mari Romarheim Haugen inspects the MoCap suits used when recording samba pandeiro playing and dancing. She found that the characteristic samba swing was present across low, medium and fast tempi.

In a series of perception and synchronization experiments, we asked people to align clicks and taps to sounds with differing shapes. We found a very robust pattern: slow attacks and long duration produce later and wider (more flexible) beat bins.

The TIME and MASHED projects at RITMO hosted the international workshop Muddy Rhythms and Broken Beats focused on experimental grooves in electronic dance music, neo-soul and hip-hop.

The project interviewed musicians and producers in five different musical genres in which rhythm is a key aesthetic factor. Results from interviews and analyses of multi-track recordings from the electronic dance music genre were published in Music Theory Spectrum.